But heaven and earth was teeming around them, and how should this cease? They felt the rush of the sap in spring, they knew the wave which cannot halt, but every year throws forward the seed to begetting, and falling back, leaves the young born on earth. They knew the intercourse between heaven and earth, sunshine drawn into the breast and bowels, the rain sucked up in the daytime, nakedness that come under the wind in autumn, showing the birds’ nests no longer worth hiding…They took the udder of the cows, the cows yielded milk and pulse against the hands of the men, the pulse of the blood of the teats of the cows beat into the pulse of the hands of the men. They mounted their horses, and held life between the grip of their knees, they harnessed their horses at the wagon, and, with hand on the bridle-rings, drew the heaving of the horses after their will.

這種韻律的美，是非讀原文不得的，特別是那一句the cows yielded milk and pulse against the hands of the men, the pulse of the blood of the teats of the cows beat into the pulse of the hands of the men，完全可以讀出血脈涌動的節(jié)奏，完全令人沉醉在兩種血脈相互沖撞的肉感之中。為此有批評家把勞倫斯和哈代對自然的描寫說成是“性感的風(fēng)景描寫”（sexualization of landscape），這個短語也可用現(xiàn)在時髦的“什么什么化”的西式句法來翻譯成“性化風(fēng)景”。他們所“性化”的是浪漫主義詩人華茲華斯筆下的英國土地。在華詩人的筆下，英國的風(fēng)景是審美客體，詩人面對客體吟詠風(fēng)花雪月的詩篇，美則美矣，但能感到審美的主客體是分離的，如《水仙辭》中 I wandered lonely as a cloud / That floats on high o’er vale and hills 的詩句，甚至頗為矯情做作。而到了勞倫斯這一代詩人，風(fēng)景和自然儼然是主體，詩人要揭示其內(nèi)在的詩性，體現(xiàn)在詩化的散文中，就有了這種自然的節(jié)奏生發(fā)于此。這種美，源自浪漫主義，但已經(jīng)是浪漫主義詩歌望塵莫及的了。浪漫主義的特點(diǎn)是感發(fā)，而勞倫斯的詩文轉(zhuǎn)向自然的生發(fā)。

在《查泰萊夫人的情人》中對黑暗齷齪的礦區(qū)，勞倫斯發(fā)出的幾乎是咬牙切齒的恨恨然之聲，這聲音幾乎可以通過朗讀下面的段落發(fā)自肺腑，當(dāng)然我指的是英文原文，不僅是節(jié)奏，用詞幾乎都有咬牙切齒之音響效果，如連用幾個black，幾個utter和幾個ugly，這樣的幾個短音節(jié)詞不斷跳躍在字里行間，發(fā)自牙縫和舌間，聽上去完全是擲地有聲的咒符：