Modernism and the odor of Chrysanthemums by D.H. Lawrence

Extract

[...] Lawrence brings out previous social taboos, which further reflects the concomitant impact of modernism on the social fabric. Moreover, from a modernist perspective of marriage, Elizabeth's silence and indifferent calm, suggest the “impossibility of connection between man and wife” (Gillies & Mahood, 2007:48); as highlighted by the example of her reaction to the vase being knocked off the table: of the men had knocked off a vase of chrysanthemums. He stared awkwardly, then they set down the stretcher. Elizabeth did not look at her husband. [...]

[...] Lawrence's Odor of the Chrysanthemums and modernism and submits that D.H. Lawrence's depiction of Elizabeth and Walter's marriage through death reinforces the modernist concept of self awareness and identity; which in turn fuelled the redefinition social behavior and relationships under the modernism paradigm. The concept of modernism developed from refutation of creationism and reinforced self identity and self consciousness as a form of expression. Moreover, the modernism paradigm is inherently intertwined with culture and Eysteinsson and Liska argue that in terms of literary criticism, “modernism constitutes one of the most prominent fields of literary studies today” (Eysteinsson and Liska, 2007:1). [...]

[...] Therefore, if we consider this modernist perspective of female social roles in the Odor of the Chrysanthemums by analogy; Elizabeth's reaction to her husband's death symbolizes a change in gender roles under traditional patriarchal ideals, moving towards a modernist concept of the feminine. Traditionally, the death of a husband would have social and emotional consequences for women at the time, whereas Elizabeth is struggling to make a connection. Moreover, the contrast between her feelings as a young woman and the old tears” from her mother in law arguably represents the dichotomy between women under the previous patriarchal societal ideal. [...]

[...] thought it was some men said the plaintive voice of the child. he they've brought him. There's nothing to make a fuss about. Go to sleep now, like a good child.” They could hear her voice in the bedroom, they waited whilst she covered the children under the bedclothes. he drunk?” asked the girl, timidly, faintly. No—he's not! He—he's asleep.” he asleep downstairs?” don't make a noise.” There was silence for a moment, then the men heard the frightened child again: “What's that noise?” “It's nothing, I tell you, what are you bothering The noise was the grandmother moaning. [...]

[...] Lawrence can often be overlooked however Haslam argues that Lawrence's work is important in demonstrating the socio- economic and cultural changes pertinent to the modernism social model. Indeed, Haslam further asserts that D.H. Lawrence's self assertion in Novel Matters” that communication and plurality are the key ingredients of the effective novel highlight the contribution of Lawrence's work to the modernism paradigm. Additionally, if we consider the way in which Walter died; the horror of his death is contextually indicative of the modernism of Britain via the employment changes of Industrial revolution and urbanization as he dies in a coalmining pit: what a job, what a job, to be the manager was saying, rubbing his brow with trouble and perplexity. [...]