ABSTRACT
In recent years Lawrence has been made to serve causes not of his own choosing, notably the moral tradition of the English novel. The impetus for the remaking of Lawrence was initially provided by T. S. Eliot's attack on Lawrence in After Strange Gods, in which Eliot found the son of a Midlands coal-miner heretical and sinister, the inevitable result of a deficiency in the kind of tradition that a good education gives.1
F. R. Leavis, coming to Lawrence's defense, argued insistently (sometimes impressively, often extravagantly) for Lawrence's place in "the great tradition" of the English novel.2
