By M. Lockwood
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Additional resources for A Study of the Poems of D. H. Lawrence: Thinking in Poetry
The third version of Dreams Nascent, along with On that Day and Autumn Sunshine (176-7), poems related in mood, coming at the end of 'Rhyming Poems' (the editors of the Complete Poems have added three poems which do not belong there), is clearly intended to bring that section to a crashing finale, and round off the 'death experience' at the end of the early poems on a note of complete destruction, though with a hint at a reawakening to come, in this way ushering in the next section, 'Unrhyming Poems', which begins with Look!
In 1928, Lawrence was a man much more wary of any optimistic view of human progress, divinely inspired or not. Any new future 38 A Study of the Poems of D. H. Lawrence he saw for mankind would not now come about through a process of evolution, but by means of sudden, cataclysmic change, spontaneous, unheralded, and 'destructive-creative'. In the 1928 Dreams Nascent (173-6), the emphasis is overwhelmingly (fifteen stanzas out of eighteen) on the violent destruction of the old. The personal level of the original poem has gone (the railway workers are still there, rather oddly, but the schoolboys have disappeared), the tone has been jacked up one notch from exclamation to exhortation, and the free verse turned into rhyming stanzas, with attendant rhetoric and poetic diction: The whole wide world is interior now, and we're all shut up.
Given pride of place among the poems published in the 1909 Review was Dreams Old and Nascent, perhaps the most important single early poem of Lawrence's. This is a poem (sometimes two) which underwent a great deal of revision both before and after its publication in Ford Madox Hueffer's magazine, and the changes made to it are worth some attention, because, in itself and its history, this poem gives us in small both the pattern and many of the constituents of Lawrence's poetic development. The revising shows, for one thing, an unmistakable movement away from the particular and local circumstances out of which the poem arises, towards some more generalized meditations, though in this it is following a direction which is present in the poem from the very start.
A Study of the Poems of D. H. Lawrence: Thinking in Poetry by M. Lockwood
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