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For Lawrence woman was immortal, immutable and stable. “And God, the Father, the Inscrutable, the Unknowable, we know in the flesh, in Woman. In her we go back to the Father”.

Literary career. Lawrence's works comprise 10 full-length novels, 7 short novels, 50 short stories, several books of essays and criticism, travel books, translations, 3 volumes of collected letters, 4 volumes of poems, several plays. His most important works of fiction include The White Peacock(1911), Sons and Lovers(1913),The Rainbow(1915), Women in Love(1920), The Lost Girl(1920), The Plumed 8erpent(1926), Lady Chatterley's Lover(1928).

At the beginning of his literary career Lawrence was regarded as the follower of the classical traditions of the British realistic novel. Towards the end of his life he came to be reputed as one of the most outstanding representatives of the British experimental prose of the twenties who together with V.Woolf and J.Joyce radically innovated the novel.

Influences. As a writer, Lawrence was influenced by William Blake's mystical visions, Samuel Coleridge's ideas of the prevalence of the instinctive over the rational, John Ruskin's romantic protest against the damaging effect of industrialization upon man. He was influenced by Nietzsche's philosophy of will, Freud's erotic mysticism. He was fascinated by Bergson's method of intuition. Melville's and Whitman's singing praises to nature and natural man enchanted him.

Lawrence's personality. A. Huxley believed that Lawrence was a being of another order, more sensitive, more capable of feeling than even the most gifted of common men. To be with Lawrence was a kind of adventure, a voyage of discovery into newness and otherness. He saw more than a human being ought to see. He saw more and therefore loved and hated more.

Lawrence was a man of great intellectual and spiritual energy and originality, great personal magnetism, responsive to the power and beauty of the living world. With his frail health he was a great optimist. In Lady Chatterley's Lover he wrote: "Ours is essentially a tragic age, so we refuse to take it tragically. We've got to live, no matter how many skies have fallen ". There was a springing fountain of vitality about him. He absorbed himself completely in whatever he was doing at the moment.

By nature he was a preacher, a prophet, a missionary, a visionary. A voice crying in the wilderness - the wilderness of his own isolation. He suffered from the essential solitude, an essential separateness to which his gift condemned him. He had to reject and escape. Lawrence led a wandering life. He was a tireless wanderer, destined to know the world. During his "savage pilgrimage” he was seeking a more fulfilling mode of life than industrial Western civilization could offer. He was traveling the world over, "to hear the echoes of another darker, more spacious, more dangerous, more splendid world than ours"(St.Mawr), to discover this invisible and inaudible world. His travels were at once a flight and a search. A flight from conscious knowing, cold reasoning, a search for the society with which he could establish contact. His search was as fruitless as his flight was ineffective. He could not escape from his homelessness and homesickness.



He was extremely contradictory by nature. He disliked Victorian England but kept to his Englishness ("I am English and my Englishness is my very vision”). Though he withdrew to his ivory tower of spontaneous art and living he could not but be worried by the coal strikes in England of 1926, the violently destructive force of German militarism, Mussolini’s fascist regime.

A man of genius of immensely acute intelligence, he disapproved of too much knowledge. He was sure that it diminishes men's sense of wonder and blunts their sensitiveness to the great mystery of the world. Intellectually impatient, he proclaimed anti-intellectualism. He hated all kind of systematization and labeling. With his aversion to science and intellect Lawrence was very well read in modern sciences. He was a great connoisseur of occultist, theosophical and apocalyptic books. He disliked the ultra-modern, the so-called futuristic writers, who grouped round Joyce and Proust. At the same time he praised Futurism for its purging of old forms and sentimentalities.

Lawrence's contradictoriness resulted in his adherence to dichotomies and polarities in his fiction. Contradictory is Lawrence’s nature, contradictory is the heart of the Lawrencian woman, contradictory are the relations between Male and Female in his writings.

Lawrence's reputation. For a long time in his lifetime and even after his death Lawrence was notoriously reputed as a pornographer, an obscene writer. His books were misunderstood , attacked and even suppressed because of the alleged immorality and obscenity. His work caused both passionate eulogy and violent disputation. He was proclaimed as a prophet by his admirers and stigmatized as an obscene writer by his detractors. His worldwide reputation triumphantly survived every attack upon it. Lawrence ranks among the most influential literary figures of the 20th century as he probed into the uncharted depths of human experience.

Lawrence’s convictions and beliefs. Lawrence was a person of intense personal convictions and fierce beliefs which crusaded against the sterile values of modern civilization. He was disgusted with modern civilization, mechanical, deadening, sordid, with society and industrial system being hostile, in whatever form, to men and nature. In the modern industrialized world every individual is isolated and bodily dead. He hated the Western way of living. He hated lust for money. He found the alternatives facing post-war Europe, Socialism or Fascism, both unappealing. He was sure that both would become forms of bullying, with power divorced from responsibility. He repudiated Victorian England, old, stable, measured, decent. He detested social life, which cannot be full, free and intense. He detested established moral and social codes. Like the Romantics before him, Lawrence held that man is not inherently corrupt but is corrupted by his institutions, particularly by morality, which represses his sexual impulses.

Lawrence hated increasing intellectualization of the world, the dominance of scientific thought. He hated social man, rational and cerebral, indulging in cold reasoning, unable to marvel at the wonder of the world. Social man is fragmentary and disintegrated. The social self is the shell imposed by the industrial system, the natural self remaining hidden within.

Lawrence as artist. Hating mechanical civilization, deadening social life and social man, Lawrence sought escape in the world of nature and instinctive, unconscious feelings, spontaneous living. All his life he was devoted to natural man, to the spontaneousness of life, a ceaseless creative flux.

He preferred the inner, the invisible, the subconscious to the outside, visible world ("The outside, visible world is unreal, nothing, it is only surfaces. Real is only what happens within”). His aesthetic principle was that art must be wholly spontaneous, and, like the artist, imperfect and transient, born of immediate impulse. It was Lawrence's habit to write from an inspiration of the moment. He was determined that all he produced should spring direct from the mysterious irrational source of power within him.

As an artist he was a palpitant self, acutely responsive to the world's spontaneity, relying only on instinct and intuition, concerned with development, flux and change, be it nature or the human heart. At times he was imprisoned in a world of irrational visions- "being an instrument for daemonic forces".

Lawrence was committed to his art, to his genius, to his mission of an artist. Lawrence was a religious artist but not in the Christian sense(" Art is a form of religion minus the Ten Commandments business"). He believed that " it needs a certain purity of spirit to be an artist ".

Lawrence's cosmology. He was highly sensitive to all natural elements. He had a rare eye for every movement in nature. He wrote out of doors in order to be in a full, active relationship with the natural world during the act of composition. He seemed to know what it was like to be a tree or a daisy or a breaking wave or even the mysterious moon itself. He regretted that modern men had lost contact, organic ties with cosmos, with the sea, the earth, the moon, " the mistress and mother of our watery bodies". That was the chief tragedy of mankind. “We have lost the moon, the cool, bright, ever-varying moon... we have lost her, in our stupidity we ignore her, and angry she stares down on us... Oh, beware of the angry Artemis of the night heavens…”(Apocalypse).

So it is not surprising that Lawrence should have created an artistic cosmology of his own. It is a certain development of the British tradition (W. Shakespeare, W. Blake, W.Wordsworth, S.Coleridge ). He was fasci­nated with Shakespeare's " blushing sun, pale-faced moon, rebellious earth, bad, revolting stars". Blake's " A Sick Rose" was a revelation for him. All living beings are similarized in his writings as their rhythms coincide with natural cosmic rhythms. Men and women, seasons and weather, land and sky become indistinguishably part of a single world. Man's life consists in a connection with all things in the Universe. Man stands in a vital relationship to all the other elements of the Universe, particularly the sun and the moon.

In Lawrence's writings nature throbs and pulsates with life. Every atom of life, be it a flower, mist, dusk… is full of hidden energy. Modern physics pictures matter as being in a continuous dancing and vibrating motion. This is also the way in which the Eastern mystics see the material world. They emphasize that the Universe is to be grasped dynamically as it moves, vibrates and dances.

Hating lifeless, mechanic civilization which destroys the spontaneity of life, he glorifies the marvelous beauty and fascination of naturally wild things. Nature ( landscape ) in his writings is never merely a living background against which the plot is developing. It is the matrix of human life and the source of energies. It lives, pulsates, vibrates, feels violently. It is terrible and destructive, beautiful and constructive, deadly, unfathomable, wonderful. It can be as paradoxical and disharmonious as human feelings are . Nature for him is a religious substance. In Christian theology the sacred penetrates the profane; here nature penetrates the human. Nature is enigmatic in its powerful pulsating life. Lawrence, a visionary, was sensitive to this mystery.

Man is part of nature and should be reconciled with it, which Lawrence does magnificently in his writings. For his characters nature (landscape) is life, inextricably bound with love, with the growth of the mind. In "Sons and Lovers" it is life. It becomes power in "The Rainbow". In "Women in Love" it is the great unexplained otherness, that world which is not ourselves.

Natural rhythms and psychological rhythms are identical. The whole world of nature experiences human emotions. Nature can be antagonistic, indifferent, hostile, friendly and sympathetic. The sea can be passionate. The earth can be indifferent. The moon can be cruel and cunning. Mountains can be tender or stupid. Icebergs can coldly grin. Flowers can stand breathless.

Hating man's unnatural life, he glorifies "the marvelous beauty and fascination of natural wild things". Celestial bodies, animals, flowers have some strange, almost mystic-passionate attraction to him and his characters. They lack the betrayal, the deceit and the hypocrisy of the people, violent and destructive as they might be.

Lawrence's religion and philosophy. Lawrence couldn't believe in the God of Christianity, or in any formal religion. He was influenced by Nietzsche's attacks upon Christianity with its otherworldly hopes, artificiality, unnaturalness. He founded private religion, that of paganism, mysticism, animism, blood consciousness. His special and characteristic gift was an extraordinary sensitiveness to what Wordsworth , with his cult of naive wisdom, called "unknown modes of being".

He was intensely aware of the mystery of the world which was for him divine. He was sensitive to the dark presence of the otherness that lies beyond the boundaries of man's conscious mind. He created his great religion, "a belief in the blood, the flesh, as being wiser than the intellect” ("We can go wrong in our minds. But what the blood feels, and believes, and says, is always true"}.

He was not a conventional philosopher. As his basic method of cognizing the world was intuition he developed his private philosophy in terms of myth and symbol. It is a sensual philosophy of blood-consciousness, blood-knowledge. In his sensual philosophy especially mystical is the touch. It is Jesus’s “Touch me not: for I am not yet ascended unto the Father". He believed in the "inspiration of touch”, "the democracy of touch”, under which he understood "proper human contact”. Lawrence was quiveringly sensitive. He entered into the understanding of things by touching them (The Blind Man, You Touched me. Women in Love, etc.). He wanted a tangible communion with nature. His vision was as keen and sharp as his tactile sense.

He was enchanted by the five-grade process of spiritual self-perfection in Indian philosophy (concentration, meditation, contemplation, communion, revelation). In communion subject and object of contemplation merge into a whole, the agent experiencing holiness and immortality.

Lawrence as a Priest of Love. His gift made inevitable his preoccupation with love and sex. He opposed love, which is creative, to war, which is destructive: "Love is a great creative process like spring, while war is a disintegrated autumnal process" ( Letters/. He slammed me door on the Victorian age and tried to clear away its atmosphere of moral stuffiness and moral hypocrisy. He single-handedly tried to combat the long silence on sex and passion. He revolutionized the British attitude toward sex, the main factor shaping human existence. For Lawrence sex is a creativity of life as opposed to a deadening age which cannot grant full, intense and free life to men and women. Lawrence was so outspoken on sex that he was stigmatized as obscene and immoral. Condemned as a pornographer, he did not like "a cheap and promiscuous sex”.

Lawrence's chief obsession was the relationship between the sexes. He depicts the relationship between the sexes in mystical or visionary terms: " She was the doorway to him, he to her. At last they had thrown open the doors, each to the other... "( The Rainbow ). Only in sex men and women discover emotional and spiritual fulfillment and regeneration. For him sex is a creative flow, a source of creative renewal enabling man and woman to go to the deepest sources of their natures and thus to understand themselves. He finds those relations between man and woman ideal in which tenderness, physical passion and mutual respect flow together. Where there is real sex there is the underlying passion for fidelity. Lawrence treated sexual and artistic creativity as equivalents. We find all variations of the sexual orientation in Lawrence's writings: homo-eroticism, hetero-eroticism, diverse relationships between men and women: female domination, masculine bullying, female submission… His erotic preoccupation is basically with the possibility of love between a woman and a man, this love depending on male dominance.

The Lawrencian Woman. Though Lawrence stood for male-superiority, male-supremacy, it is women who emerge as dominating figures in his fiction. They are very often intellectually and spiritually superior to their lovers and husbands. They are fulfilled and self-sufficient, demonstrating a strength of being which men do not have. Men are self-destructive, unfulfilled and dependent on women.

For Lawrence woman was immortal, immutable and stable. “And God, the Father, the Inscrutable, the Unknowable, we know in the flesh, in Woman. In her we go back to the Father”.

There is a gallery of women in Lawrence's writings: aggressive, submissive, despising decadent, incomplete men for their lack of courage... Aggressive or submissive, a Lawrencian woman is longing for love {"A woman reaches her fulfillment through love, deep sensual love, and exquisite sensitive communion ").

The relationships between the sexes. Lawrence realized the Freudian conception of love as a secret antagonism. In his writings we see doomed love affairs, miserable marriages, family strifes and tensions. There are irreconcilable polarities of sensual and spiritual values between man and woman. Hence stresses and tensions in their relationships, violent strifes and inarticulate struggles. There is always a contest, an asymmetry, an imbalance between the sexes. Often we find a violent sexual struggle between the lovers ("They fought an unknown battle, unconsciously. Still they were in love with each other, the passion was there"/ Women in Love/ ). Marriage is a conflict of wills, a battle, a conquest. Hatred and revolt go hand in hand with love in the hearts of husband and wife.

Lawrence's permanent themes. Lawrence’s major themes are the irrevocable hostility between humanism and mechanism, the relations between men and nature, civilization and natural man, the relations between the sexes. Lawrence is unmatched at rendering lovers’ murderous quarrels, endless wars between husband and wife. Attracted and repelled, they are eternally separated, yet trying to make contact. .

Lawrence as a literary reformer. He was sensitive to 20th century collapse of values and chaos. "Things have collapsed about us”, he says on the first page of Lady Chatterley's Lover.

He was innovatory in many respects. He revitalized literature, changing its contents and forms, abandoning literary conventions. He destroyed the Victorian paradigm of the novel, rejecting traditional literature with its philosophical and psychological limitations in the vision of the world, its personages being men of property, social beings not human beings. He abandoned the concerns of the traditional novel (worldly careers, courtship, social manners). He was indifferent to the outward social life .His novel is a crusade against hypocrisy and sterile values.

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Neither of his novels presents a true picture of British society in any naturalistic life. He refused to write of the main activities of the contemporary world. He refused to write even of human personalities in the accepted sense of the term. “You mustn't look in my novel for the old stable ego of the character". He preferred the individual to the social, the subconscious to the conscious, the movable, changeable to the fixed: "The novel is a perfect medium for revealing to us the changing rainbow of our living relationships” ( Morality and the Novel).

Lawrence rejected the traditional canons of structure and method in the novel. He created a new rhythmical model of a novel, verbalizing the inarticulate desires of his characters in effusions of open uncontrolled feelings. He created a new sensual language, representing all sensorial spheres. He elaborated newer methods of presentation: naturalistic, imagistic, impressionistic, expressionistic, dichotomic, mythological and symbolical.

Lawrence's impressionism. Under the influence of Impressionists who set down the chance impressions of the moment Lawrence cultivated a peculiar impressionistic art. He was trying to catch the ever-changing, the transient, the fugitive, the elusive, hues and shades, contrasts of light and colour, the play of air, sunlight, moonlight. All his descriptions of natural things and phenomena are profoundly impressionistic. While reading his writings we seem to be marveling at the sparkling paintings of Monet and Manet. He is painting with words trying to convey the ever-changing colour nuances and the ever-changing movements in the human heart, the momentary, fleeting impressions and desires. He rejected solidity, the fixed, the motionless.

His landscapes are suffused with sunlight, twilight, moonlight, starlight, radiance and darkness. They have veils of vague haziness, shadows and gleams. Colouring is presented in everlasting changeability and contrasts. Each picture is presented as a momentary vision of the unique: "The flowers glimmer white and gold in the lush grass... ", “ the moon coming yellow and lovely upon a rosy sky, above the darkening bluish snow”( The Rainbow ). His impressionism is not decorative. It reflects his impressionistic vision of life, its spontaneity.

His impressionism expresses itself in a penetrating psychological analysis. He reveals the slightest hues, shades and subtleties of his heroes' feelings with the utmost delicacy of touch. He dwells on flows and tides of changeable and unpredictable moods, conflicting wills, fluctuations of love and hatred, eagerness and tension.

We see a whole system of means representing differing linguistic levels which actively participate in creating impressionistic effects. On the lexico-semantic level it is primarily the choice of words from different sensorial semantic fields, words of any grammatical class , inherently conveying changeability, vagueness, the synaesthetic combinations of words. He creates denominations of complex subsidiary transient colours and shades: dusky gold, dull purple, chilly blue, etc. He sees the world synaesthetically, peculiarly combining sounds, colours, touches, scents ( a cold scent of ivory roses, a white virgin scent… ). So his impressionism is intensely synaesthetic.

On the morphological level we see an abundance of continuous forms, the interchange of articles to signify a change from stability to changeability (the red, a red, red ). On the syntactical level we find the double predicate, detachment of any part of the sentence, parataxis.

Lawrence's expressionism. We see in his later writings the irrational, the archetypal, the transcendental, intense passions, tragically hysteric explosions, love-hate fluctuations, ebbs and flows of human relationships. His images become surrealistic and unfathomable. His visionary expressionism merges human and cosmic. Its intensity borders on dreams and nightmares, the objective reality being distorted and exaggerated. Reality can disappear. The artist finds himself imprisoned in a world of wild hallucinations.

Lawrence was concerned with the vital essence of things, with the elemental, archetypal in man which is the hallmark of Expressionism. His art was visionary, religious, based on the over-intensification of experience. We distinguished between exterior and interior expressionism. The latter consists in grasping the transient and fugitive contradictions of the human heart.

As to their intensity of colours and pulsating rhythms , his landscapes and love scenes in The Rainbow and Women in Love are comparable with Van Gogh's pictures (" Night, in which everything was lost, went reaching out beyond stars and sun. Stars and sun, a few bright grains, went spinning round for terror, and holding each other in embrace, there in a darkness that outpassed them all, and left them tiny…” ( Sons and Lovers).

Lawrence's dichotomism. He was sensitive to movement, dynamics, development, be it the life of a flower or a human being. In dialectics movement can go on only rejecting itself. Hence contrasts between moving forces of life. He was powerfully antinomical everywhere, on the outside and in the inside.

The dichotomic method becomes one of the dominant structural principles of Lawrence’s writings. It helps him reveal "the changing rainbow of our living relationships”. He expresses his basic concepts dichotomically. In his writings nature and society represent wholly different systems of values. The wonder and greatness of earth and sky are opposed to the mean and insignificant work of man's hands. He continually contrasts the exterior (social life, manners ) and the interior (the hidden, the instinctive).

The most frequent dichotomies of his are outer-inner, visible-invisible, light-dark, heard-unheard, modern-ancient, mind-body, sensual-spiritual, conscious-unconscious, social-natural, man-nature, man-woman, solidity-fluidity, death-rebirth, detachment-union, remoteness-binding, perfection-imperfection, freedom-imprisonment, spontaneous living-cold reasoning, the mind-the blood, instinct and intuition, theory and analysis, etc.

He stressed the importance of the intuitive moment. He believed that when painting, writing and playing music we rely on instinct and intuition ,but not on theory and analysis. The antagonism between social and natural man is one of the dominant features of his thought. The social self, player of social roles, is false, the natural self, spontaneous and creative, transcends the community.

Lawrence exposes the contradictions that exist on the irrational level. He contrasts wonder and oblivion, flame and darkness. The exterior self comes into relation with its inner counterpart (the hidden self, interior wild energy). All man-woman relationships oscillate according to their own eccentric, unpredictable periods between the poles of union and division, love and hate, tenderness and anger. These love-hate fluctuations, these desire-negation cycles shape his characters’ passions. He conveyed wonderfully the feeling of repose and relief after fighting and tension. These dichotomies flow together at times. When the long estranged sensual and spiritual currents finally flow together there arises harmony. He was striving to harmonize the mind and the body( "Body without mind is brutish, mind without body is mechanical”}, spirit and matter, sensibility and instinct.

The rhythmicality of Lawrence’s prose. Lawrence is a creator of a specific spiral, repetitive rhythm of a novel to render the slow pace of emotional revelation. Lawrence explained this rhythm in the following way:”…the mind makes curious swoops and circles... There is a spiral rhythm, and the mind approaches again and again the point of concern, repeats itself, goes back, destroys the time-sequence entirely, so that time ceases to exist... " The hypnotic repetition, so characteristic of Lawrence, focuses our attention on certain intense emotional states. Some words recur like an obsession. His ceaseless repetitions suggest a mind , driven in a frantic search for an adequate expression of an intense but verbally elusive experience. The text records an effort towards articulation. Rhythmic repetition can break down the linear-temporal sequence and expands the moment in a hallucinatory way evoking ,what Lawrence called, the fourth dimension. Frenzied passages are contrasted to those with the symmetrical phrasing, the unhurried pacing, the uncomplicated syntax.

Time and Space. In less than a page we can move from an action, unspecified in time and space, to one, in which time and space are ambivalent, to one, in which they do not exist, to one, in which they are very much present, and back again to one, where they are unspecified.

Lawrence's is not a linear and sequential concept of time. It can be either suspended or cyclic. There is often a blurring of time and space demarcation because the inward self lives in subjective time and merges memory, emotion and sensation with the objective realities of place, event and object.

A new mode of narration. Though Lawrence was hostile or indifferent to the narrative complications, which characterize modernistic writings , he involuntarily developed a very original narrative mode and structure that breaks free of the rusty moulds. It can be called a stream - of- subconsciousness. Along with the omniscient narrator who states things objectively we find an author who projects himself into the subconsciousness of the characters, identifies himself with them. The author translates the inarticulate thoughts and sensations of his personages, which are highly contradictory, wavering between confidence and doubt. He is watching, interpreting and reinterpreting the inner life of his characters. We find constant but, really, however or apparently where the commonsensical, the authoritative and the unsettled, the unstable are mixed. The difference between the character and the narrator can be blurred. The voice of the narrator tends to echo the emotions arising within his characters.

One is struck by the scarcity of the dialogue. His characters are inarticulate by nature. Many of their complex psychological processes lie outside the range of all common speech. Lawrence had an uncanny ability for depicting the nonverbal communication between people. He articulated the darkness of the unconscious. He was concerned with the mysterious inner movements of their instincts, impulses and emotions. He imitated this deeper existence by reproducing its rhythm.

He created novels which penetrate the subverbal, subcognitive areas of life. In passionate moments Lawrence introduces the reader into the silence of his characters' unconscious sensual experience. Cognitive life disappears. The text becomes sensuous, physical, instinctive and mysteriously intuitive. We come to understand that man exists most vitally underneath the perceivable personality. The most significant and universal dimension of human experience, which Lawrence called the fourth dimension, has been hitherto ignored by novelists.

Lawrence's character - making. His characters are ever- changing moods in the flesh. Male and Female, two beginnings of life, impressionistically fleeting and transient. "The old stable ego of the character" is not to be found in his fiction. He neglected the importance of setting, costume and social surrounding in the formation of his characters. He dispensed with "surface personality" in order to uncover the archetypal self, elemental conflicts between man and woman , father and son, mother and son… He viewed man from the perspective of nature presenting psychological processes of his characters in terms of natural ones. He rendered human passions within natural landscapes. His characters are sensuously developed, refined in instinct. They are bewitched by the moods and motions of the natural world. They are nature-conscious , with an archaic diffused consciousness. So, their personal relationships are framed by nature. Their instincts and desires, their sensations are described in terms of moonlight, flowers and perfumes. In sensuous contact with trees and flowers his characters sense and assimilate the unconscious life-power of the Universe . They feel an intimate communion with the roses, expanded in an ecstasy, with the moon, the cruel Artemis of the night heavens .The activity of the characters’ mind becomes indistinguishable from the nonverbal chaos of a turbulent sky ( The Rainbow ). If the individual is weak, like Lawrence's male character, he is absorbed by nature, disintegrated by the moon and the night ( The Rainbow ).The colourful contrasts in nature are in harmony with the sharp conflicts of their wills.


Date: 2015-12-17; view: 832


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