One of the fundamental elements in the economy of any novel the writer's handling of language. Before any other feature of the finished work, language the medium by means of which the writer operates his fictional in-put.There a close interconnection between form and meaning in the case of poetic language, which can be also extended to poetic prose. possible because, in both cases, meaning can be analyzed and explained only in relation to other elements of poetic organization. requirement that the components of a structure be analyzed with relation to each other, that the problems of form be constantly correlated to problems of meaning indispensable in the study of language1, and, we consider, this indispensable in the analysis of poetic prose, too.The study of expressive language deals with the description of the elements of the linguistic code that are endowed with an emotive function, that is, elements that serve to express the writer's attitude towards his reader or to the thing spoken about. The expressive elements cannot be studied outside their relation to the distinctive elements of language. In other words, this means speaking about the problem of the linguistic code in poetic language, which by extension means referring to peculiarities of the linguistic code in poetic prose. As in the case of poetry, that operates with some linguistic features which do not occur in casual language (phonemic, lexical or grammatical), poetic prose also operates with various differences on the lexical or syntactic level. Deviations from the accepted norms frequently occur in poetry, in particular, and they must be viewed as the result of manipulations of available linguistic material and of the skilful use of the multiple possibilities existent in the standard language. When speaking about a recognized standard language, any departure from the norm may be restricted to one of its levels or to some of its elements. Quite common the use of lexical items that pertain to different systems or to different strata of one system. This achieved by the introduction of dialects, archaic words, of foreignisms or of specialized, technical terms.2 Few of these are applicable in the case of Lawrence's novelistic prose; his use of non standard language and his peculiar style (in his later novels in particular) are obviously due to an original handling of the lexical strata.Our analysis here will be focused on one particular lexical device - lexical repetition - otherwise frequently exploited and peculiarly employed by Lawrence, as it one which he paradoxically makes responsible for varied poetic effects in his novels.Among the most recurrent poetic effects in his late novels, in particular, that of rhythmic pattern. According to Stankiewicz, verse is the highest form of poetic organization, differing from prose in its rhythmic pattern.3 We may say Lawrence's prose contains certain distinctive elements that are responsible for rhythmic patterns which provide a poetic quality to his prose.The purpose of our linguistic investigation twofold: on the one hand, we intend to highlight on Lawrence's peculiar use and variation of lexical elements and, on the other hand, to prove to what extent these changes or deviations from the norm constitute daring innovations.We start from the premise that any great poet the man (and Lawrence can rightly be considered one of the greatest stylists in English prose) who possesses an intuitive mastery of the rules that are obligatory within his own poetic tradition and language, but who also can manipulate these rules4, thus going far beyond the traditional linguistic norms.D.H. Lawrence had strong opinions and clear ideas about the proper use of literary language. He quite explicitly saw himself as inventing language, both in terms of the functions he expected language to perform from novel to novel, and in the ways he adapted, refined and reinvented language and linguistic forms over the years. …