The White Peacock is a novel by D. H. Lawrence published in 1911. Lawrence started the novel in 1906 and then rewrote it three times. The early versions had the working title of Laetitia. Maurice Greiffenhagen (1862-1931)'s 1891 painting, 'An Idyll', inspired D H Lawrence's novel The White Peacock. The painting had "a profound effect" on the author, who wrote: "As for Greiffenhagen's 'Idyll', it moves me almost as if I were in love myself. Under its intoxication, I have flirted madly this Christmas." Lawrence's first novel is set in the Eastwood area of his youth and is narrated in the first person by a character named Cyril Beardsall. It involves themes such as the damage associated with mismatched marriages, and the border country between town and country. A misanthropic gamekeeper makes an appearance, in some ways the prototype of Mellors in Lawrence's last novel, Lady Chatterley's Lover. The book includes some notable description of nature and the impact of industrialisation on the countryside and the town. Its provincialism may be compared with the novels of George Eliot and Thomas Hardy. The novel is set in Nethermere (fictional name for real-life Eastwood) and is narrated by Cyril Beardsall, whose sister Laetitia (Lettie) is involved in a love triangle with two young men, George and Leslie Temple. She eventually marries Leslie, even though she feels sexually drawn to George. Spurned by Lettie, George marries the conventional Meg. Both his and Lettie's marriages end in unhappiness, as George slides into alcoholism at the novel's close. David Herbert Lawrence (11 September 1885 - 2 March 1930) was an English novelist, poet, playwright, essayist, literary critic and painter who published as D. H. Lawrence. His collected works, among other things, represent an extended reflection upon the dehumanising effects of modernity and industrialisation. In them, some of the issues Lawrence explores are emotional health, vitality, spontaneity 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 which 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.

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