An Exploration Of D.H. Lawrence'S,

An Exploration of D.H. Lawrence's,

"The Odour of Chrysanthemums" brings to light the

true fragrance of chrysanthemums set in contrast to

Katherine Mansfield's, "The Garden Party",

which makes for an interesting discovery into the reality of human class construction and distinction through the depiction of interpersonal human relations and the effect on them of class.

"From the mechanical monster terrifying the cantering colt at the beginning, (a brilliant bit of Lawrence this - demonstrating the way that the iron horse may be able to carry more than the animal but that it can't beat it's pace) to the un-weeping widow at the end, we may think that this is just a 'tale'. But hours after the story is finished, the images are still with the reader."

- Helen Croom

An opposition between nature and society creates the central, juxtaposing theme of D.H. Lawrence's, "The Odour of Chrysanthemums". A verification of this theme is evident in Elizabeth's recognition of the absolute differences between her world and the world of her now dead husband, based on her perceptions. Elizabeth is confronted with the shocking reality that she only knew the body of her now dead husband, but never gained knowledge of his true existence; his soul. "The Odour of Chrysanthemums" functions as a depiction of human relations and the effect on them of class, as portrayed by the third person, limited omniscient narrator. The narrator knows what the characters are thinking most of the time, usually focusing on the thoughts of one character. In "The Odour of Chrysanthemums," Elizabeth functions as the protagonist and most of what is told, is through her perspective. The presence of a subjective plot, in which the inner subjective life comes into conflict with the objective life or reality as others see it, is evident both in "The Odour of Chrysanthemums", and as compared to, Katherine Mansfield's, "The Garden Party". Several correlations may be drawn between these two magnificent short stories, linking them on several levels, especially that of the impacts that class has on human relations: the differences, as well as the similarities, regardless of class difference. However, a focus on D.H. Lawrence's, "The Odour of Chrysanthemums" shall be maintained for the purposes of this exploration and shall be discussed in terms of theme, narrative voice and the development of the plot through Lawrence's structured manipulation of tone, symbolism and irony in reference to Katherine Mansfield's, "The Garden Party", in certain instances.

The theme of "The Odour of Chrysanthemums" contrasts ..."industrial blight against the beauty of nature, but also the separation of death from life, especially the retrospective sense of distinct separateness." (Amoia 1) "The horror of the distance between them was almost too much for her - it was so infinite a gap she must look across." Chrysanthemums, as well the use of light and darkness, are used throughout the story as symbols representing life and death, thus lending support to the theme. Similarly, lilies are used symbolically in "The Garden Party" as creating the divide between the vitality and radiance of life verses death, by the use of ironic foreshadowing techniques, coupled with the use of light and dark not only representing life and death, but also the divide between classes. The Sheridan's are introduced to us in the setting of ideal weather, "windless, warm, the sky without a cloud", in contrast to the trip that Laura takes along the road which "...gleamed white, and down below in the hollow the little cottages were in deep shade." Ironically, the prejudice and differences felt in class are expressed in the narrative voice by means of tone and diction, evident in the passage, "The very smoke coming out of their chimneys was poverty-stricken. Little rags and shreds of smoke, so unlike the great silvery plumes that uncurled from the Sheridan's chimneys." Prejudice and class distinction are portrayed thus by means of descriptive imagery and biased views of nature by the narrative voice. Laura is torn between the reality of the prejudice she feels due to her "upbringing which made her wonder for a moment whether it was quite respectful of a workman to talk to her of bangs slap in the eye", and her ironic feeling of "absurd class distinctions". Laura seems unable to distinguish between her feeling of restricted separation from the prejudice of those of the same class around her, and her psychological desire to connect, communicate and understand a "world" foreign to her due to the way in which society, and her family has constructed this "world's" associations and connotations for her through social psychology and modelling.

Lawrence constructs separation, especially within human relationships by the use of chrysanthemums, as well as descriptive, symbolic imagery, especially nature and the surroundings encompassing the characters. The initial mention of the "...dishevelled pink chrysanthemums" is coupled with a dreary introductory diction of a "small", "stumbling" locomotive engine, "...thump[ing] heavily past...with slow inevitable movement, as [Elizabeth] stood insignificantly trapped between the jolting black wagons and the hedge." as well as the mention of "the fields [being] dreary and forsaken". Elizabeth's being "insignificantly trapped" between a slow moving object, (the jolting black wagons), signifying a changing factor, and a stationary hedge, signifying a more constant, independent variable is of great significance when taken into account in terms of Elizabeth's current and future situation. The drab diction further reinforces Lawrence's desired tone by the use of imagery such as "stagnant light", and progression by "...the winding engine [which] rapped out its little spasms." In both these images paradox is introduced by the use of oxymorons. Although light would stereotypically be seen as positive, when coupled with stagnancy, we are left questioning whether it is not in fact negative? Similarly, a "winding engine" would be seen as fulfilling some duty to man, however, when expressed in terms of "...rapp[ing] out its little spasms", we are introduced to the idea that although this movement is repetitive and its purpose is to serve man, that in fact little progression is achieved, and that