The Virgin and the Gipsy

by D.H. Lawrence

An electrifying short novel published posthumously set in a small village in the English countryside and tells the story of a sheltered rector's daughter whose life is changed when she is introduced to a world of unfettered passion.  

The Virgin and the Gipsy was discovered in France after D. H. Lawrence's death in 1930. Immediately recognized as a masterpiece in which Lawrence had distilled and purified his ideas about sexuality and morality, The Virgin and the Gipsy has become a classic and is one of Lawrence's most electrifying short novels.

Set in a small village in the English countryside, this is the story of a secluded, sensitive rector's daughter who yearns for meaning beyond the life to which she seems doomed. When she meets a handsome young gipsy whose life appears different from hers in every way, she is immediately smitten and yet still paralyzed by her own fear and social convention. Not until a natural catastrophe suddenly, miraculously sweeps away the world as she knew it does a new world of passion open for her. Lawrence's spirit is infused by all his tenderness, passion, and knowledge of the human soul.

Genres: Classics, Fiction, Romance, Literature, British Literature, 20th Century, Novella

156 pages, Paperback

First published November 1, 1930

About the author

David Herbert Richards Lawrence was an English writer of the 20th century, whose prolific and diverse output included novels, short stories, poems, plays, essays, travel books, paintings, translations, literary criticism, and personal letters. His collected works represent an extended reflection upon the dehumanizing effects of modernity and industrialisation. In them, Lawrence confronts issues relating to emotional health and vitality, spontaneity, human sexuality and instinct.

Lawrence's opinions earned him many enemies and he endured official persecution, censorship, and misrepresentation of his creative work throughout the second half of his life, much of which he spent in a voluntary exile he called his "savage pilgrimage." At the time of his death, his public reputation was that of a pornographer who had wasted his considerable talents. E. M. Forster, in an obituary notice, challenged this widely held view, describing him as "the greatest imaginative novelist of our generation." Later, the influential Cambridge critic F. R. Leavis championed both his artistic integrity and his moral seriousness, placing much of Lawrence's fiction within the canonical "great tradition" of the English novel. He is now generally valued as a visionary thinker and a significant representative of modernism in English literature.
http://en.wikipedia.org/wiki/D.H._Law...

Reviews

[Vit Babenco · Rating 5 out of 5]

The Virgin and the Gypsy is a rather short novel but it is deep and as turbulent as a whirlpool and it is the quintessential D.H. Lawrence

When the vicar’s wife went off with a young and penniless man the scandal knew no bounds. Her two little girls were only seven and nine years old respectively. And the vicar was such a good husband. True, his hair was grey. But his moustache was dark, he was handsome, and still full of furtive passion for his unrestrained and beautiful wife.
Why did she go? Why did she burst away with such an éclat of revulsion, like a touch of madness?

D.H. Lawrence knows the answer – he is one of the most experienced swimmers in the dark undercurrents of human psyche.
Everyday life may easily turn into a prison – a cage of despotic upbringing, a gaol of conformity, a dungeon of religion, an oubliette of conventionalities…

In his eyes, she was just brazening out the depravity that underlay her virgin, tender, bird-like face. She-who-was-Cynthia had been like this: a snowflower. And he had convulsions of sadistic horror, thinking what might be the actual depravity of She-who-was-Cynthia. Even his own love for her, which had been the lust love of the born cowed, had been a depravity, in secret, to him. So what must an illegal love be?
‘You know best yourself, what you have got,’ he sneered. ‘But it is something you had best curb, and quickly, if you don’t intend to finish in a criminal-lunacy asylum.’
‘Why?’ she said, pale and muted, numbed with frozen fear. ‘Why criminal lunacy? What have I done?’

To escape this suffocating prison of everyday living we need some inner cataclysmic flood, some emotional quake to rescue us and set us free.

[Chrissie · Rating 5 out of 5]

Here is a love story to my liking. No, I cannot start with that, it will be misunderstood. It is a love story and more.

Second try. Here is a story that captures the attraction that in the blink of an eye can spring up between two people. If you have felt this, you will know what I mean and recognize the feelings. They’re physical, emotional and all engulfing.

That is not enough either. The novel has more.

The story captures the tensions of family relationships. Emotions are felt as electricity. How is this achieved? Through the prose. Through what the characters say to one another.

The prose is stunning. The prose makes the book.

D.H. Lawrence, with just a few select words, gets across the contradictions that lie in what a person says, feels and thinks. Here is one example: with one word, the word hush repeated several times, Lawrence conveys quickly that one should not be thinking, saying or feeling what the person is thinking, saying or feeling.

What society demands of a person is conveyed too--the book is set after the First World War in the English Midlands. We are served up a rector's family...and a gipsy.

Here, in this short novel, Lawrence draws places and people superbly.

The story exudes the joy of life, if one dares to grab it. It skewers social conventions and hypocrisy.

I like how the story conveys, without being explicit, strong sexual attraction.

I like how the story ends—hinting at what the future may hold.

The version I listened to is the author's unaltered manuscript, discovered in 1930 after his death.

On buying the audiobook I was told the narrator would be Georgina Sutton, but it wasn’t! We are told both at the beginning and at its end that Margaret Hilton is the narrator. Perhaps the narrator uses two names? This is possible since many narrators do this. In any case, Margaret Hilton does a fantastic job. Her pacing and where she pauses are perfect. You want to have time to suck on the author’s words. This she gives you. Her tone of voice is perfect. If you choose to listen to this novel, I recommend you listen to Margaret Hilton’s narration. The narration I have given five stars. The recording I listened to is done by Recorded Books. It has the release date 12-27-13 and the title has a “y” instead of an “i” in gipsy! It has a red cover with a white square in the middle showing two figures standing between two trees. I picked it up at Audible in the US. Hope you can find it.

ETA: Audible.com has now corrected previously incorrect information--Margaret Hilton is the correct narrator of the audiobook!

***************************

*Sons and Lovers 1 star
*Lady Chatterley's Lover 1 star
*Love Among the Haystacks 3 stars
*The Rainbow 4 stars
*The Virgin and the Gipsy 5 stars
*The Ladybird 5 stars

*Women in Love TBR
*The Lost Girl: Cambridge Lawrence Edition TBR

[Jamie · Rating 2 out of 5]

Hey, you guys, did you know that Yvette is a virgin? She's very virginal. The most virgin-est virgin ever to virgin. I mean, really, really virgin-y. The best virgin. Puts other virgins to shame, really.

Oh, and also she hates her grandma and thinks a gypsy is dreamy and dares to hang out with a semi-divorced "Jewess" (gasp! the horror!). And did I mention her perfectly virginal virginity yet? Because she is a virgin, you know.

There, I've summarized the plot for you so you don't have to read it. You're welcome.

[Duane Parker · Rating 5 out of 5]

I have read almost everything D.H. Lawrence wrote, loved all of it, and thought I had seen his best, that is until I picked up this short novel. It was found and published after his death, and in my view it may be his best work. His characters, especially his female characters, are some of the best in English literature, and that doesn’t change in this little jewel of repressed passion and temptation.

5 Stars.

[Paula Mota · Rating 4 out of 5]

4,5*
#novellasinnovember

Estava lá à espera de que Leo a pedisse em casamento! Seria como esperar que o velho Rover, o cão Terra Nova, a pedisse em casamento. Ficar noiva de qualquer homem da terra? Não, Deus do céu, não era possível imaginar nada mais ridículo! (...)
- Há algo em mim que eles não vêem e nunca hão-de ver – disse ela, zangada, para si própria. E ao mesmo tempo, sentiu-se aliviada por eles não verem nem conseguirem ver. (...)
Ela não queria acasalar com um cão doméstico.

Muitos conflitos geracionais e uma enorme tensão sexual nesta novela soberba de D.H. Lawrence. As personagens mais velhas são detestáveis, extremamente bem caracterizadas no seu confronto com as duas raparigas mais jovens, filhas de um vigário hipócrita e de uma mulher que fugiu com um homem mais novo. D.H. Lawrence tem o condão de ser desconcertante.

[Anbukarasan · Rating 5 out of 5]

a wise tale...

[MihaElla · Rating 5 out of 5]

A lovely manner of rendering a lovely tale. Short enough but oddly interesting. And I was surprised to find myself immersed in a sort of happy version of George Eliot's famous novel, The Mill on the Floss. Well, that is to say not in the whole body of the text, but especially the ending. A good read, while I am still patiently chewing on these two simple sentences: "Be braver in your body, or your luck will go.", and "Listen for the voice of water." ;)

[Mahtab · Rating 3 out of 5]

"وقتی همسر کشیش با مردی جوان و بی‌پول فرار کرد، افتضاحی برپا شد که نگو و نپرس."
دی. اچ. لارنس نوول باکره و کولی را با این جمله آغاز کرده است. جمله‌ای که شروع یک طوفان و تغییر را در زندگی کشیش به خواننده اعلام می‌کند. این اتفاق سرآغاز ماجراهایی است که در این کتاب با آن همراه می‌شویم. باکره و کولی با عنوان اصلی The Virgin and The Gipsy برای اولین بار در سال 1930 پس از مرگ لارنس منتشر شد و گفته می‌شود طرحی ناتمام از یک رمان است که او فرصت ویراستاری و نوشتن آن را نداشته است. این نویسنده‌ی انگلیسی با زبان منحصر به فرد خود اخلاق و عشق را به زیبایی با هم می‌تند و خواننده را به فکر فرو می‌برد.
باکره و کولی داستان زندگی یک کشیش محلی است که به همراه دو دختر خود، به نام‌های ایوت و لوسیل، مادربانو، خواهر و برادرش در یک کلبه سنگی زندگی می‌کند. ایوت در این کتاب به عنوان شخصیت اصلی ظاهر می‌شود و در تلاش است تا محدودیت‌های خانوادگی خود را از بین ببرد و چهره واقعی عشق را پیدا کند. ایوت در گردشی معمولی با مردی کولی آشنا می‌شود. این آشنایی جلوه‌ای نو به زندگی این دختر جوان می‌بخشد. لارنس با استفاده از فضای روستایی و ساده در کتاب‌های خود، طبیعت و غریزه انسان را به تصویر می‌کشد.
در کل کتاب جالبیهو من از خوندنش لذت بردم. از فضای روستایی کتاب های لارنس واقعا خوشم میاد و اینکه اخلاق و عشق رو روبروی هم قرار میده

[Dave Schaafsma · Rating 4 out of 5]

Since I saw that that someone had liked my review of Lady Chatterley's Lover, I looked for a novel I had not read by Lawrence and this short novel came up. It was not published in his lifetime. Sometimes I thought of it as a shorter version of Lady Chatterley, without all of the intense conversations about social and political issues; in other words, we just get to the sex! But just to say, nothing here is as explicit as Lady C, sorry, or maybe that works better for you.

Teresa, a young daughter of a rector, encounters a gypsy passing through town; he is Darcy, Heathcliff, dark, steamy, swarthy, arrogant, gorgeous. And she has never been looked at by anyone before as he looks at her. The object of desire, animal lust, but he is restrained, never acts as she takes this all in. She is a small town girl steeped in family and societal conventions, middle-class, and this man is a gypsy, a tramp, as her father makes clear to her. Trash! And her stuffy, religious grandmother also lays it on thick to her. Cold, proper, living within the lines. A repression of the body. And trust me, the gypsy is all body, all the time!

Girls get together at some points to discuss sex, lust, and morality. As in any Lawrence, desire--defamed by church and society--is a good thing, the purest spiritual experience! Holy! They know the profane, clueless boys in town who want sex: Not acceptable. Shallow. And life without boys: Also unacceptable. True desire is like a flame, it's special, it needs to be fed. And this gypsy might be something different than any man or boy she has encountered. But Teresa needs something to push her over the edge, or into his arms.

The big finish is--I won't say too much (restraint is very important in romance and reviews of romance, a mere suggestion may suffice)--about an actual dam breaking, the waters flowing, the very foundation of her house threatened. Too on the nose? Well, maybe, but let's just say this is a moment in which the gypsy is important in revealing possibilities for a different future for Teresa. I'd like to say more, but it's already obvious that this dramatic scene is heavily symbolic. I really liked it a lot, though, and recommend it if you want to try a shorter Lawrence with a little heat in it. The gypsy is not even named, though in the closing the narrator acknowledges that fact; he's a key to the beginnings of Teresa's self-understanding, a kind of symbol in himself.

[Sepehr · Rating 2 out of 5]

به قول منتقد منفور : درنیامده.

[Greg · Rating 5 out of 5]

This is why God gave us writers. Literary perfection. Adding this to my all time favourites list.

Extended review.
The Virgin and the Gipsy
First published 1930

List of characters
Chapt. I
Vicar's delinquent wife Cynthia
Young penniless man, (who Cynthia took off with)
Arthur Saywell, the vicar/rector, aged 47 years
Lucille and Yvette, the vicar's two young daughters
The Mater - Granny, the Vicar's mother, over 70 years
Aunt Cissie, the Vicar's sister, over 40
Uncle Fred, the vicar's brother, aged 40

Chapt. II
Lucille, now nearly twenty-one
Yvette, now nineteen
The Framleys
 Gerry Somercotes
 Lottie Framley
 Ella Framley
 Bob Framley
Leo Wetherall
Lady Louth
Joe Boswell, the gipsy, served in Major Eastwood's regiment
Gipsy woman fortune teller, big, swathy, wolf-like, black hair
Elderly gipsy woman
Mrs Fawcett, finely formed 'little jewess', rich bourgeois, aged 36, divorced Simon Fawcett
Major Eastward, big blonde man, athletic, driver with Mrs Fawcett
Aunt Lucy
Aunt Nell
Aunt Alice

Quote p.19 'It is very much easier to shatter prison bars than to open undiscovered doors of life. As the younger generation find out somewhat to its chagrin.'

P. 64 'Yvette did not tell the rector or Granny about the Eastwards. It would only have started a lot of talk which she detested. The Rector wouldn't have minded, for himself, privately. But he to, knew the necessity of keeping as clear as possible from that poisonous, many-headed serpent, the tongue of the people.'

P. 68 'The rector heard about Yvette's intimacy with the Eastwoods, and she was somewhat startled by the result. She had thought he wouldn't care. Verbally, in his would-be humorous fashion, he was entirely unconventional, such a frightfully good sport. As he said himself, he was a conservative anarchist; which meant he was like a great many more people, a mere unbeliever. The anarchy extended to his humorous talk, and his secret thinking. The conservatism, based on a mongrel fear of anarchy, controlled every action. His thoughts, secretly, were something to be scared of. Therefore, in his life, he was fanatically afraid of the conventional.'
There is an interesting conversation between father and daughter on pages 68 to 71.
The rector sneeringly describes Major Eastward as 'the maquereau'. Yvette doesn't know what that is, 'but felt the poison of the rectors fangs.'

I looked up 'maquereau'. = mackeral (slang) from French
maquelel (mod. MAQUEREAU, - elle), broker, whence, also makelare. A procurer or procuress; a pimp.

The section on p.72 hits the same note, reference, mental approach as Ralph Ellison's Invisible Man.
'Outwardly she remained the same. It was part of her game. While circumstances remained as they were, she must remain, at least in  appearance, true to what was expected of her.'

P.73 'Yvette lashes out in a mood of irritable depression. ". . .shutting Lucille and me out. We're nothing but outsiders in this beastly house!"
The rector was the perfect fascist. Threatening his daughter with the criminal insane asylum if and when she protested her independence.'

P.74 The Gipsy - 'Being of a race that exists to be harrying the outskirts of our society, forever hostile and living only by spoil, he was too much master of himself, and too wary, to expose himself openly to the vast and gruesome clutch of our law. He had been through the war. He had been enslaved against his will, that time.'

Lawrence's genius reminds us that there are alternatives to live in mind and body than to the line of conventional establishment expectations and rules. The voice of the great sub culture.

[Burak Candan · Rating 4 out of 5]

Bakire ile Çingene, katı gelenekçiliğin insanın tabiatı ve özgürlüğüyle çatışmasını ele alıyor. Lawrence, özgür düşüncenin, otantikliğin, hayat neşesinin yeşermesine izin vermeyen, etrafındaki her şeyi kendi gri çemberine hapsetmeye çalışan geleneksel ahlakçılığı alaycılıkla karışık bir tiksintiyle yeriyor.

Bir papazla evliyken iki küçük kızını terk edip başka biriyle kaçan bir kadının bıraktığı bir ortamda şekilleniyor hikaye. Bu olayın yarattığı kin ve nefret ortamında büyüyen bu iki kızdan küçüğünün, Yvette'in genç kızlığa adım atma çabasını okuyoruz. Yvette ve kız kardeşi Lucille neşeyi, merakı ve insanın dizginlenemez doğasını temsil ederlerken; yaşlı, sinsi, kontrolcü babaanne, onun baskısı altında kadınlığını ve gençliğini harcamış, bu sebeple öfke ve kin dolu Cissie hala ve kızlarını seven iyi bir baba, fakat hayatını dinin şekillendirdiği bir sofu olan papaz ise toplumu ve geleneği temsil ediyorlar. Günün birinde özgür, gizemli bir çingene adama rastlayan ve onun çekimine kapılan Yvette'in özgürlüğünün ve isyankarlığının iyice ateşlendiğini, içinde salt cinsel çekimin ötesine geçen, toplumun dayattığından başka bir hayata bir merak, bir özlem uyandığını görüyoruz. Böylece hiç tanımadığımız annesini yavaş yavaş Yvette'in isyanında tanıyor, onu kaçıran psikolojiyi yaratan boğucu ve toksik atmosferin farkına varıyoruz.

**

Haset ve önyargılarla şekillenmiş toplumsal ahlakın, kendi tabiatının ve özgürlüğünün peşinden gitmek isteyen birine ne tepki vereceği üzerine çarpıcı bir klasik bırakıyor bize Lawrence. Ahlaksızlığın bile toplumun çizdiği sınırlarda yapılması gerekliliğini, en affedilemez, en korkunç şeyin toplumsal yapının dışında konumlanmak olduğu gerçeğini yüzümüze çarpıyor.

[Maan Kawas · Rating 5 out of 5]

A very beautiful short story by D. H. Lawrence that shows his mastery in describing and displaying the complex nature of the human drives, relationships, and sexuality! It is a daring story that - like many of his novels - addresses the hidden forces of the sexual drive and repression on person, which are pivotal in a materialistic world. A major theme that is reminiscent of his major novel “Lady Chatterley’s Lover” is the role of the primitive forces, namely sex, in the human life and existence, which brings satisfaction and meaning to people’s life in the modern world. According to Lawrence modernity as well as industrialization affects human’s relationship and social life, to name a few. I loved the skillful depiction of the characters, the dynamic and dramatic plot, and the ups and downs in the life of the family. I particularly loved the relationship between Yvette and the gypsy Jo, and the non-verbal communication and mutual chemistry between both of them. It is a story that attracts your attention from the first page, and makes you unable to leave it until you have reached the last page. Finally, although this is a short story, but it is full of layers of meaning that one may discover upon reading it more than once.

[trestitia ⵊⵊⵊ deamorski · Rating 4 out of 5]

Ya böyle kıpır kıpır, fıkır fıkır, cayır cayır bir kitap.

“... adam onun üstünde güç kazanmıştı. Gölgesi kızın üstündeydi.
Adamsa kahvesini üflerken tek bir şeyin, kızın bakireliğinin gizemli meyvesinin ve bedeninin olağanüstü tatlılığının farkındaydı.
[...]
Çingene onun orada olduğunun tüm varlığıyla farkındaydı, bir gölgenin özü, bekleyişi ve hep yerinde kalışı gibi onu bekliyordu.”

Yaşasaydı, bu sensual + sexual tavır new york times best sellerlar listesini sikip atardı.

İçim gıdıklandı, yüreğim hopladı, midem düğümlendi.
{Bir romance'dan başka ne bekliyorum zaten.}

Nys. Fangirlinge döneriz.

Şöyle bir aile var:
• Sümsük papaz baba
• Terk eden anne
• Histerik yeşil hala
• İhtiyatlı özgüvenli abla
• İktidardaki bencil babaanne
• Öfkeli bakire Yvette
• Gizemli seksi çingene

Müthiş bir coming of age desem kimse bana bişi diyemez. (Bunu google enter'ladım ve sonuç alamadım çok şaşkınım)

Müthiş bir ayrı dünyaların insanlarının yaz aşkı dersem de bişi diyemezsiniz. Hem zengin kız fakir oğlan, hem ırksal fark, hem forbidden (çingene evli), hem age gap,,, Yvette'nın tamamen zıttı bi de oh boy.
{Daha ne kadar trope lazım hojam}

Yvette'e asi/isyankar demektense öfkeli demeyi özellikle tercih ederim. Dönemine göre öyle olabilir ama o asiliğin temelinde öfke yatıyor diye düşünüyorum; Yvette ablası (ve arkadaşı ve yoldaşı) gibi şartları kabul edip etrafından dolaşmıyor, kodlanmış olan doğru/iyi - yanlış/kötü kalıplarına (en insancıl yorumla) görmezden gelerek devam etmiyor, elindekilerle de yetinmiyor; Bir nevi Belle gibi Yvette "bu köyden daha fazlası var" inancıyla, ya da bilinçsiz talebiyle yanıyor.

Arzu demiyorum çünkü içtepiden gelen talep doğuruyor bu arzuyu. Arzusunun nesnesi de çingene oluyor, bu yüzden çingenenin bir adı yok (kitabın sonuna kadar). Ve Yvette'nin bekaretini kaybedişi, bacak arasındaki derinin değil bilincinin yırtılışla oluyor- daha fazlasının olduğunun farkına vararak. Kitap boyunca bakirelik saflık/temizlik olarak dillendirilse de sembolize ettiği şey farkında olmayış da aynı zamanda; sevgi, aşk, kendi, bedeni, cinselliği,,,
Annesi tarafından terk edilen, babaannesinin baskısı altında -yanında bonus deli hala ile- tecritvari bir ortamda yetişen bakireden de çok bişey beklenemez.
{İlk gördüğü bad boya düşer. Hayır özür dilemicem.}

'Adı anılmayan' annesinin de yırtılan bakireliği(!) dir belki de, babalarını terk edip beş parasız kendinden küçük bir adamla gitmesine sebep.
Kendi gibi.

“... bir ucuz cinsellik var, bir de ucuz olmayan öbürü. Korkunç derece karmaşık gerçekten! Ben, sıradan insanlardan tiksiniyorum. Sıradan olmayan insanlara karşı da -cinsel sözcüğüne tiksintisini gösteren bir vurguyla-cinsel bir dürtü duymuyorum. Belki de ben cinsellik denen şeyden yoksunum.”

Abla Lucille'nin lafları. {Good girl}

Lawrence zaten her kitabında 'cinsel özgürlük diyerek ancak sığlaştırılabilecek' bir hürriyet anlatmıyor mu?

“Korkak doğanlarsa doğal tutsaklardır ve derinlerdeki içgüdüleri, boyunduruklarının ansızın boyunlarına kilitleneceği korkusuyla onları zehirli bir dehşet içerisinde bırakır.”

Kendini gerçekleştiren kehanet kısmından çözümlemek hiç istemiyorum.

Lawrance'ın yaptığı diğer eleştirileri, yerden yere vuruşları [sadakat gibi]* aktarmaya keza gerek yok, ayrıca muazzam karakter analizleri var, papaz üzerine bile çokça konuşabiliriz, en ilgi çekici olan ise hala benim için.

[*] Der ki s. 15 "Tedbir ve sadakat dünyayı yönetmeliydi! Varsın aile içinde olabildiğince nefret ve sürtüşme olsun. Dış dünyaya karşı parmaklıklarla çevrili bir birlik olmak zorundaydılar." Lawrence "To the outer world, a stubborn fence of unison" diyor buna, Yvette ve diğerleri, hem kendi hem biraradalıklarıyla gerçekten de hapis gibilerdir.
Ama konumuz bu değil.
Kitap bitince 'ulan hakketten' diyosun, tatlı ve öfkeli bakiremize sadık kalan bir Çingenedir, kendine has sadakatiyle; çünkü onu küçümseyen halkın 'bildiğinin' aksine yalan söylememiştir, Yvette'i kandırmamıştır, Yvette'ten bir şey çalmamıştır, hatta o parmaklıklardan kurtulması için onu zorlamamıştır bile. {rivayet geçmiş zamanın bildirilmesini daha sıralayabilirim.}

{Aşırıyorumculuğu sizden öğrenecek değilim.}

“... Yvette'nin yüreği artık koşullara karşı Çingene'nin bakırına vuran çekici kadar sert atıyordu. [...] Neredeyse onunla gidip, parya bir Çingene kadını olmayı yüreğinde bulabilecekti.”

Eh, bakiremiz de kafa karışıklığı ve oturmamış karakter ile ancak olumlanabilecek bir sadakatsizliğe riyakarlığa sahip.

Bu kitabın Çingenenin evli olamayıp kızla kaçtığı ve bölge halkıyla mücadele ettiği historical erotik romance'ının yazılması lazım.

Halaya neden yeşil dediğime dair bir fikrim yok ama bir bildiğim vardır, ona dememiş olma ihtimalim de var elbette
xoxoxo
iko

PS: 1970 yapımı uyarlamasını sevmedim. Joanna Shimkus katana gibi kalmış, Franco Nero da daha çok survivor finalisti gibi. Ve tabii ki 70 ruhuna yakışır salt cinsellik ve toplumsal propaganda öne geçmiş.

[Josefina Wagner · Rating 3 out of 5]

https://edebiyatdanostalji.blogspot.c...

[Fátima Linhares · Rating 3 out of 5]

Este livro bem que se poderia chamar "A virgem, o cigano e a cheia", já que no final esta última é que resolveu, mais ou menos, a história toda. :P

Claro que a história não foi nada do que eu imaginei pelo título. Definitivamente tenho de me deixar dessas coisas de tentar adivinhar o enredo pelo título. Não é algo que aconteça frequentemente, mas quando acontece dá sempre asneira. :D

Uma história com uma protagonista intrigante,. Gostei da Yvette e não posso deixar de pensar que, depois do final do livro, ela foi ter com o Joe Boswell. Foi uma leitura agradável para uma tarde de sol como a de hoje.

[Jose Garrido · Rating 4 out of 5]

Não me senti completamente confortável com a versão em português e decidi ler, também, a original.

[Marija · Rating 4 out of 5]

The first D.H. Lawrence story I read was "The Rocking-Horse Winner", a tale I found quite disturbing. His posthumous novella The Virgin and the Gypsy, I think, is equally disconcerting in terms of imagery and implication.

Yvette is unhappy with her current situation. She’s a rector’s daughter and is forced to cope with Mater, her domineering grandmother, and spinster Aunt, who consider her the reincarnation of her treacherous Mother. All Yvette desires is to have some peace and freedom to pursue her goals. (Picture a combination of Isabel Archer and Ursula Brangwen.) She’s passionate, her main desire being to find someone with whom she could fall desperately in love. She’s not especially enamored with the boys she knows from the town; she’s unsatisfied. There’s a dominance issue: She feels that she has more power and influence over them than they have over her. But then, she meets the gypsy.

The power this gypsy holds over Yvette was what I considered disturbing and creepy. The moment he stares into her eyes, boring into them, she becomes mesmerized and no longer has any voluntary control over her actions. She becomes his pawn, to do with as he pleases. I can sort of understand this gypsy mystery and influence, from the stories my mom told me about the gypsy children she met when she traveled in Ireland. But the strange thing is the implication that he’s not a born gypsy. This was the life he chose after serving in WW1—his way of coping with the post-traumatic stress. Another thing I didn’t quite like, is that she knows he has a gypsy “wife” and children. When she asks him how many children he has, he again peers into her eyes and responds, “Say five” —basically insinuating five babies he knows of. To Yvette, this revelation is negligible and doesn’t seem to matter.

Another aspect of the book that was equally disconcerting is the book’s take on aging. Initially, the descriptions were fine, there was even some humor interspersed across the text. However, the descriptions of Mater become so increasingly surreal and macabre that it was rather hard to mentally visualize. And to tell the truth, I’m glad of it; it’s definitely not a picture I want to have in my mind’s eye. I recently read Hardy’s The Pursuit of the Well-Beloved and The Well-Beloved, a book that also describes aging and decrepitude, but in a completely different manner. Hardy adds humor to the descriptions, but there’s still respect there. Here, age is completely trashed.

Nevertheless, the ending is quite unexpected, and it redeemed the book for me. The little note and the visual picture it produces makes a great contrast to the image that’s portrayed across the novella. A great use of irony. Loved it!

[mai ahmd · Rating 4 out of 5]

عندما هربت زوجة القس مع شاب مفلس لم تعرف الفضيحة حدودا , كانت أعوام ابنتيها الصغريتين لاتتجاوز السابعة والتاسعة من العمر على التوالي , كان القس زوجا طيبا بحق , صحيح أن الشيب كان قد وخط شعره , ولكن شاربه أسود اللون , كان وسيما وممتلئا بعاطفة خفية لزوجته الجميلة الجامحة
لماذا ذهبت !
لماذا ولت بهذا الإشمئزاز العارم كمس من الجنون !
لم يحر أحدهم جوابا
وحدهم الأنقياء قالوا أنهم إمرأة سيئة بينما التزمت النساء الصالحات بالصمت
كن يعرفن
ولكن الفتاتين الصغيرتين , لم تعرفا قط !


هذه هي بداية الرواية الصغيرة الحجم التي كتبها ديفيد لورنس الأديب البريطاني الذي عرف بتقديسه للجسد وبدا ذلك واضحا في روايته عشيق الليدي تشاترلي والتي منعت لفترة طويلة في إنجلترا وتعرض بسببها الكاتب للمحاكمة , لم تنشر هذه الرواية إلا بعد وفاة الكاتب وقد حاولت ُ كثيرا أن أتجرد من افكاري السابقة وانطباعتي التي تركتها رواية الليدي التي حفلت بالكثير من المشاهد الإباحية والحمد لله ربنا ستر
في العذراء والغجري ينتقد لورنس الواقع البرجوازي الذي تعيشه الأسر في ذلك الوقت من خلال قصة إيفيت إحدى الفتاتين التي هجرتهما والدتهما وتركتهما مع والدهما القس , العذراء إيفيت كانت تعيش اختناقا من محاصرة جدتها وعمتها ووالدها القس تتحين الفرص لكي تلتقي بأصدقائها البرجوازيين لكنها لا تشعر بالسعادة مع سطحية أفكارهم وتصرفاتهم التي تميل للرعونة و فهي لم تلتقي بعد الرجل الذي يشعرها باختلافها إنها تبحث عن الحب وتكره الحياة البغيضة التي تعيشها في الأبرشية ذلك النوع المتعفن من الحياة كما يقول لورنس ولكنها لم تسلم من انتقادات عمتها وكرهها للدماء التي تجري في عروقها بسبب والدتها التي هجرت العائلة
تلتقي إيفيت الغجري لم يقترب الغجري منها إلا بمقدار ما سمح له لورنس بذلك
وإن كانت له محاولات طفيفة إلا أن فوارق الطبقات التي كانت سائدة في ذلك الوقت جعلت لورنس يضع حاجزا بين العذراء والغجري لم تكن تعرف إيفيت طبيعة مشاعرها تجاهه وقد صرحت بذلك لصديقتها اليهودية أنها لم تعرف الحب ولكن الغجري يحرك فيها شيء ما لكنها وفق تلك الحواجز الطبقية وأحكام قبضة والدها وجدتها والعمة لم تسمح لها بأن تنجر خلف مشاعرها وهذا نادرا ما يحدث في روايات لورنس التي تزخر بالرغبات الجنسية وإن كان الأمر لم يخلو تماما على أني قرأت مقالا للكاتب الأمريكي جون نورثن يوضح فيه أن المصادر الواقعية لرواية العذراء والغجري هي مصادر شخصية تماما وهذا ما يفسر عزوف ديفيد هربرت عن نشر الرواية فالكاتب الأمريكي يصرح أن الزوجة التي فرت من القس ما هي إلا إشارة إلى زوجة ديفيد هربرت فريدا الألمانية الجنسية والتي تركت أطفالها وزوجها الأستاذ الأكاديمي ولاذت بالفرار مع لورنس !
وهذه الحقيقة هي الثيمة التي استمد منها لورنس روايته العذراء والغجري والتي تكفلت زوجته فريدا بنشرها بعد وفاته مباشرة , أما نهاية الرواية فقد بدت لي في غاية اللطف الغجري حلم الفتاة المنقذ الذي يظهر كالفارس لينقذ محبوبته على ظهر جواده لم يحدث هذا في الرواية ولكن ما حدث يبدو لي مشابه
إن النهاية كانت من الرقة واللطف كتلك الحكايات التي تترك على طرف شفتيك ابتسامة وأنت تستعد للنوم

[Ava Kiarasi · Rating 3 out of 5]

چی بگم؟؟؟؟؟🙄

[Renée Paule · Rating 5 out of 5]

An incredible multi-layered short story - such an ingenious ending, if you read it carefully.

[Deniz Balcı · Rating 4 out of 5]

Lawrence’ı seviyorum. Hatta benim favori İngiliz yazarlarımdan olduğunu söyleyebilirim rahatlıkla. Onun viktoryen ahlaka olan cesur karşıtlığını ilham verici buluyorum. Bu kitabında da ‘genel geçer baskıcı ahlak’ ile ‘özgür ruhu’ karşı karşıya getiriyor. Toplumun dışına itilmiş ve yasaklanmış bir yazar olarak duruşunu bozmaması, cinsellik konusundaki kararlı duruşunu sonuna kadar sürdürmesini saygıyla selamlıyorum. Lawrence gibiler sayesinde insanlar daha mutlu olacak, umuyorum. Âşık olun, sevin, sevişin ve Lawrence’ı okuyun tabiî ki.

İyi okumalar.

7/10

[Asclepiade · Rating 2 out of 5]

Talora fa male vedere immagini di modelli o attori dei quali fummo invaghiti lustri addietro, al tempo dei nostri anni verdi: spesso il tempo è stato inclemente con loro; e, al pari dei bellissimi d’antan, poiché habent sua fata libelli, non sempre i libri sanno invecchiar bene, andando anzi spesso incontro a fata decisamente tristi: benché ci si chieda qualche volta se, al contrario di modelli e attori, bellissimi lo fossero mai stati. Prendiamo, tanto per dire, questo romanzo breve (o racconto lungo, fate vobis; non ho mai ben compresa la differenza…), che, venendo da cotanto autore e con cotanto titolo, il lettore minimamente smaliziato già s’immagina dove vada a parare: io cerco appunto di mettermi nei panni d’un lettore di circa novant’anni fa, per figurarmi se e quanto potesse sonare rivoluzionario allora; ma non ostanti gli sforzi, non riesco a farmelo piacere. Va detto che dall’inizio alla fine non fa che sparare cannonate a lavorare di randello contro la rispettabilità borghese; ma sarà pure che codesta rispettabilità borghese nell’ultimo secolo, e viepiù nell’ultimo mezzo secolo, ha pigliato tante di quelle legnate che ormai c’ispira più simpatia e tenerezza che aborrimento, c’è da dire che Lawrence, a conti fatti, è assai meno rivoluzionario di quanto sembri e di quanto voglia. La famiglia rispettabile in cui vive la vergine del titolo non appartiene a quella borghesia solida e abbiente cui siamo avvezzi da tanta narrativa inglese: sono piccolissimi borghesi di campagna, praticamente popolani, col capofamiglia parroco, probabilmente metodista (e anticamente abbandonato da una moglie fedifraga, evidentemente stanca di quell’ambientino frizzante), ma in un paesello tetro, e una madre decrepita, lagnosa e tirannica, una sorella zitella e acidissima, un fratello scapolo sempre aggrondato, una serva che praticamente sembra non esserci, a forza di adattarsi all’umor festivo della maison, e appunto la protagonista e sua sorella. Lo Zingaro del titolo è (ovviamente) uno zingaro, il quale, al pari di tanti suoi consimili dell’epoca, vive facendo il calderaio, mentre la vecchia mamma legge la mano a prezzo modico e la moglie non si sa. Oggi se si pensa agli zingari vengono in mente uomini coi baffoni a lo sguardo truce, oppure donne infagottate in brutti cenci, che chiedono l’elemosina; ma in altri tempi si preferiva pensare alle zingarelle fascinose che girano il mondo e ballano il flamenco, e agli zingari dal fascino tenebroso e dalla vita errabonda e libera, fra i quali magari si possono celare perfino cortigiani e favorite caduti in disgrazia, come Zaida e Albazar nel Turco in Italia. Nella fattispecie, poi, lo zingaro è assieme oltremodo maschio ma anche delicato, di quelli che ti spogliano con un’occhiata ma nel contempo ti fanno sognare chi sa quali saporose, insinuanti delizie; ma il lettore che si aspettasse un’altra Lady Chatterley rimarrà fatalmente a bocca asciutta, perché qui, almeno sul piano fisico, tutto rimane sul piano della più virginea verecondia: tante chiacchiere ribellistiche dunque, ma fatti less than zero. Altro che in quella vecchia canzoncina del cacciator del bosco, nella quale il suddetto, incontrata una pastorella, “prima la prese per mano/ e poi la pose a sedere:/ dal gusto e dal piacere/la pastorella s’addormentò”: dove, a meno di non sospettare strane doti ipnagogiche nel cacciator del bosco, ciascuno si può figurare lo iato temporale fra il sedersi e il cadere addormentata lungo e piacimento e variamente animato. Qui, nisba. In compenso, Lawrence pare ghermito da un’incontenibile frenesia aggettivale. Ora, io non dovrei dir niente, perché quanto ad aggettivi non credo di essere particolarmente parco, né sono mai stato un adepto del famigerato less in more: però se s’intende scialare con gli aggettivi, occorre saperli metter lì con grazia, in modo che appaiano quantomeno inattesi o intelligenti: se tutto fa capire che una casa è brutta e che io sono triste, inutile scrivere dieci volte che la casa è brutta e che io sono triste; il lettore, se non è scemo affatto, lo capisce benissimo da solo. Certo, non bisognerebbe giudicare troppo male lo stile d’uno scritto basandosi solo su d’una traduzione: ma qui la mia sensazione è proprio che Lawrence non si accontenti di dire le cose, ma le voglia gridare. Tutto è costituito da categorie tagliate con l’accetta, ogni moto dell’animo è descritto in pieno giorno, squadernato e sviscerato con dovizia di definizioni e aggettivi; non esiste un angolino d’ombra confortevole, dove il lettore riesca per un attimo a respirare un refolo di ambiguità, una screziatura di elusività, un alito di chiaroscuro, una vena di je ne sais quoi; troppa luce radente viene presto un po’ a noia. E alla fine addirittura arriva un cataclisma con tanto d’inondazione distruttrice. A Lawrence, che detestava l’ipocrisia inglese, venne un’uggia incontenibile, probabilmente, anche nei confronti dell’understatement albionico. Purtroppo. Un pochino di understatement, invece, gli avrebbe proprio fatto bene.

[Marija Nikolic · Rating 1 out of 5]

Note: I can usually appreciate a story for what it is regardless of its socio-political context. However in the spam of 89 pages D.H Lawrence has managed to produce the worst "story" I have ever read. By morphing as many forms of social and political oppression into one fictionalised universe.

* the notion of virginity is not telling of a persons character, not does it enhance it at such. This was my issue. Fine she's a virgin. But does her every movement and describable mannerism have to be referred as an attribute of her virginity. Every other young female character probably was a virgin, but this particular virgin had virginity radiating so powerfully through her that it was enough to promote her character to the level of the protagonist. Fine, oh wait no in making her a protagonist I will give her no other redeeming qualities whilst paralleling her to gypsies in order to comment badly against their oppressed race.

* sexism everywhere, fine appropriate for context (i guess, not really)
* racist
* anti-semitic (referring to a character as a Jewess, mentioning her name once or not even once, not going to check)
* classist - oh I'm angsty about my bourgeoisie lifestyle, I have two selves one in which I can be a gypsy without all of the oppression. Oh no I regret not falling in love with this gypsy man sooner, now I'm going to be bored in my comfortable house, as he has to travel around towns selling items he has made to survive.
* pointless: overall the worst ending I have ever experienced.
* the writing style was the only thing holding this piece of shit together

Overall if you wanna get butthurt its:
* offensive to women
* offensive to gypsies
* offensive to jews
* overall anyone who is part of the lower class of society
* the patriarchy personified
* white privilege at its peak

Mum recommended this to me. We are having a talk when she gets home.

[Faith Ling · Rating 3 out of 5]

My first DH Lawrence book. I'll admit I'm not quite used to classic writing, so getting through this was a bit hard for me. Not to mention feeling like the storytelling was slow and that it was hard to relate to any of the characters. However, I read the reviews, and found that Lawrence is known for describing very well the human psyche, behaviour and sexual attraction. Which makes the book make much more sense, and helps me to appreciate it better. Because a lot of this book follows Yvette's thoughts and feelings, while illustrating very well her family and other individuals she encounters.

So... I didn't love this, but I appreciate it for what it is. Having said that, I'm gonna start including more classics into my reading list again! (and not just read them for Lit exam purposes hahahah)

[Kkopp · Rating 5 out of 5]

A very simple story elegantly told. The elegance grows out of an amazing level of skill at deploying language in an incremental, layered way; Lawrence literally titrates his depiction of the various characters or scenes, taking a word and repeating it in different contexts over a page or several pages until his portrayal achieves the desired level of completeness before moving on to the next person or scene. I was mesmerized by the technical mastery which perhaps only works when the story remains so simple, an allegory of passion, prejudice, and provincialism. A model for writers by a master....

[Belinda Vlasbaard · Rating 4 out of 5]

3,5 stars- English paperback

Review follows later.

[Ana · Rating 3 out of 5]

original read: 2008

[Brian E Reynolds · Rating 4 out of 5]

This is Lawrence’s last written work left unrevised at his death. I do not know what revisions he would have made, but the version he left is as complete and proficient as any of his works. However, the prose did feel a bit different from his four 400+ page novels that I read. It seemed clearer, simpler, and flowed more easily than the more turgid writing of those four. The style, along with the novella length, gave the story a lightness I found unusual for a Lawrence work.

The story’s titled Virgin is Yvette Saywell, a young 20ish girl living in a small northern England village vicarage with her rector father and slightly older more reserved sister Lucille. Also living there are ‘Mater’ her bitter and domineering grandmother, her stingy and dingy Uncle Fred and her subservient Aunt Cissie.

Yvette’s mother, “She-who-was-Cynthia” had run away from the family with a working-class younger man when the girls were 7 and 9. Yvette is a fairly curious, impetuous and sensual young women. When her curiosity brings her into contact with the titled Gipsy, who is travelling with his wife and children, selling wares while his elderly mother tells fortunes, she finds her sensual desires aroused more than ever before. The story dynamic is the Rector’s fear that Yvette is so like her mother’s character that she will also go astray.

At this point in the story, I thought I would be reading a love story, or more accurately, lust story full of overly sensual events and prose. I was prepared for this to be a more typical 3-star Lawrence reading experience. However, the story did not go as I foresaw. It turned into a pleasing tale detailing an important period and event in the formation, growth and emergence of a young woman. It bears some resemblance in theme to Ursula Brangwen's story in The Rainbow

I liked and empathized with the protagonist Yvette, especially how she was willing to befriend new types of people. The intra-family relationships were well-portrayed. The prose and storytelling were simple, clear and effective. I liked the story. I rate it as 4 stars.

[Melika Khoshnezhad · Rating 3 out of 5]

«او ناخودآگاه پریشان‌خاطر بود، زیرا افکاری مزاحم به ذهن هجوم می‌بردند: "چرا با مبل و اثاث بی‌روح منزل فرقی نداریم؟ چرا هیچی مهم نیست؟" این جمله ترجیع‌بند گفت‌و‌گوهای درونی‌اش شد: چرا هیچی مهم نیست؟ خواه در کلیسا بود یا در مجلش ضیافتی جوانانه یا وقتی در تالار هتل بزرگ شهر می‌رقصید، این پرسش، به‌سان حیایی ظریف، مدام در ضمیرش می‌جوشید: چرا هیچی مهم نیست؟»


لارنس کله‌اش خراب است و برای همین ازش خوشم می‌آید. اگر بستر زمانی این کتاب را درنظربگیریم متوجه کار بزرگی که لارنس کرده است می‌شویم. در زمانه‌ای که صحبت از عشق - به ویژه عشق جسمانی - برای هرکسی ممکن است دردسرساز شود، لارنس درباره‌ی زنانی می‌نویسد که به‌خاطرعشقی از این نوع، خانه و کاشانه و حتی فرزندان خود را رها می‌کنند. (بی‌شباهت به اتفاقی که در زندگی خود لارنس می‌افتد نیست این ماجرا، چون همسر استاد سابقش بعد از آن‌که عاشق لارنس می‌شود فرزندان و همسرش را رها می‌کند و همراه لارنس می‌‌رود.) زبان لارنس طنازانه و بسیار جالب و موجز است. من متن فارسی و انگلیسی را کنار هم می‌خواندم و واقعاً درود بر کاوه میرعباسی که جمله‌های موجز و نسبتاً پیچیده‌ی لارنس را به‌ این خوبی ترجمه کرده بود. شاید این ایجاز و طنز و نگاهِ فاصله‌دار نویسنده به مذاق همه خوش نیاید، اما من خیلی دوستش داشتم.
از طرفی کتاب جای تفسیر نمادین را هم تا حد خوبی باز می‌گذارد. کولی می‌تواند نمادی از درآغوش کشیدن غریزه و خوی وحشی (به‌معنای روسویی کلمه) باشد. همان غریزه‌های جسمانی و بنیادینی که ایوت و مادرش در تب درآغوش کشیدن‌شان می‌سوزند؛ اشتیاقی که درون خود فرد پیدا می‌شود و به فرد مقابل لزوماً ارتباطی ندارد. مادربزرگ هم می‌تواند نماد تمام باورها و سیستم‌های عقیدتی کهن و پوسیده‌ای باشند که به‌زعمِ لارنسِ قرن بیستمی بوی گند گرفته‌اند وفقط شاید سیلی بتواند بیاید و ریشه‌کن‌شان کند.
در نهایت، شاید داستان این کتاب برای خواننده‌ی قرن بیست‌و‌یکمی حرف چندان تازه‌ای برای گفتن نداشته باشد، اما با درنظرگرفتن بستر شکل‌گیری‌اش بی‌نهایت ارزشمند و جالب به‌نظرمی‌رسد.