The Annotated Edition
DRUNK by D. H. Lawrence
A drunk man wanders alone at night down a street adorned with flowering trees, his yearning for a distant lover turning each blossom into a woman calling to him.
- Poet
- D. H. Lawrence
- Themes
- loneliness, love, memory
§01Quick summary
What this poem is about
§02Themes
Recurring themes
§03Line by line
Stanza by stanza, with notes
Too far away, oh love, I know, / To save me from this haunted road,
Editor's note
The speaker begins in the middle of a thought, speaking to a lover who isn’t there. The road feels 'haunted' — not by traditional ghosts, but by the speaker's own longing, which is about to influence everything in sight. The arc-lamps above transform the night into something dreamlike, distorting the sky under the sheer intensity of their light.
Of lights: each solitary rose, / Each arc-lamp golden does expose
Editor's note
The arc lamps, whether gas or early electric street lights, light up the blooming trees and transform each blossom into a 'ghost beyond ghost.' The term 'blenched' — meaning whitened or drained of color — perfectly describes the odd pallor that artificial light casts on white flowers at night. The entire street takes on the appearance of an overexposed photograph.
Of hawthorn and of lilac trees, / White lilac; shows discoloured night
Editor's note
Lawrence lists the flowers: hawthorn, white lilac, laburnum. Each flower will eventually represent a female figure. For now, they just reflect their golden hues back into the lamplight, and the red hawthorn is likened to flags stained with blood — a striking image that brings themes of violence and sacrifice into what initially appeared to be a picturesque street scene.
Of life for love and love for life, / Of hunger for a little food,
Editor's note
This stanza serves as the emotional core of the poem. The speaker reveals the true essence of the night walk: a deep human longing for love, for intimacy, and for a partner he once pursued but lost. The repetition of "long ago, long ago wooed" evokes the sense of an unresolved wound. The series of dots that follow indicates a pause — a moment to breathe before the visions become even more vivid.
Too far away you are, my love, / To steady my brain in this phantom show
Editor's note
The speaker goes over his opening remarks again, but now it's clearer what the absent lover represents: she would be his anchor. Without her, his view turns into a 'phantom show' — a magic-lantern projection of longing. The road in front of and behind him appears to spiral, like he's going in circles, much like someone who's had too much to drink.
The enormous cliff of horse-chestnut trees / Has poised on each of its ledges
Editor's note
Now the hallucinations become clear. The horse-chestnut trees, with their candle-like flower clusters, appear to the speaker as rows of little girls in white nightgowns looking down at him. He speaks to them directly but then hesitates — 'you're too small for me, too small' — which can be taken both literally (they are flowers, not girls) and as the speaker realizing he needs to rein in his desire before it leads him astray.
White little sheaves of night-gowned maids, / Some other will thresh you out!
Editor's note
The agricultural metaphor — sheaves, thresh — reflects Lawrence's style: bodies and harvest intertwined. He brushes aside the small-girl blossoms and focuses on the lilac, now envisioning it as a veiled lady leaning in to attract a man's attention. The white mantilla (a lace veil) gives her a mix of modesty and allure, as she 'gracefully sighs' among the flowers.
And another lilac in purple veiled / Discreetly, all recklessly calls
Editor's note
The purple lilac poses a greater danger than the white one. Its scent is both 'low' and 'shocking' — it skips the eyes and strikes the body straight away. The speaker finds his strength waning. Next, the laburnum, adorned with its drooping yellow flower chains, transforms into a woman ready to let her gold dress fall and reveal herself. This moment captures the height of erotic hallucination, and Lawrence conveys it with striking sensory intensity.
The pageant of flowery trees above / The street pale-passionate goes,
Editor's note
The speaker zooms out to take in a broader scene. Above, the flowering trees create a 'pageant,' while below, actual couples stroll side by side, their bodies intertwined and faces near. The difference is striking: the flowers represent his ideal fantasy, while the couples on the pavement embody the reality he longs for.
Come then, my love, come as you will / Along this haunted road,
Editor's note
The poem concludes with a straightforward, open invitation. The speaker doesn't insist that his lover embodies a particular persona or appearance — 'be whom you will, my darling.' The terms 'troth' (a promise of fidelity) and 'trowed' (believed, trusted) are intentionally old-fashioned, lending the vow a serious, almost ceremonial gravity that contrasts sharply with the drunken turmoil of what came before.
§04Tone & mood
How this poem feels
§05Symbols & metaphors
Symbols & metaphors
- The flowering trees (hawthorn, lilac, laburnum)
- Each tree reflects the speaker's desires. They appear as real flowers filtered through a mind that is intoxicated and yearning for love, continuously transforming into women — veiled, inviting, undressing. Lawrence employs these images to illustrate how longing alters the physical world surrounding us.
- Arc-lamps / artificial light
- The street lamps ignite the entire hallucination. They wash out and multiply the blossoms, transforming a simple road into a 'phantom show.' They represent the distorting power of desire — how it shines a bright light on some aspects while casting others into darkness.
- Blood and flags (red hawthorn)
- The red hawthorn blossoms, likened to 'flags in blenched blood newly wet', suggest that love can feel like a battlefield — a 'noiseless fight' where life and love constantly vie for dominance. This imagery adds a darker, more violent twist to the poem's erotic energy.
- The mantilla (lace veil)
- The white and purple lilacs appear to wear veils in the speaker's view. This veil, a traditional symbol of modesty, also highlights what it conceals. In this context, it reflects the tension between the flowers' stunning beauty and the woman imagined beneath them.
- Couples walking two-by-two
- The couples on the pavement reflect what the speaker is missing. They represent the tangible reality of the fantasy unfolding in the trees above. Their existence highlights his loneliness.
- The troth / pledge
- The old word 'troth' at the end of the poem hints that, beneath all the drunken visions, lies a solid foundation of true commitment. The speaker's loyalty isn't based on logic or sobriety — it endures the night's chaos because it's rooted in something deeper than reason.
§06Historical context
Historical context
§07FAQ
Questions readers ask
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