Husband and Wife Relation in "Odour of Chrysanthemums"/RELATION ENTRE MARI ET FEMME DANS ODEUR DU CHRYSANTHÈME
Bibliographic record
Abstract
Abstract: This essay focuses on the husband and wife relations; the wife is in dominance in the relation. The story is a rediscovery of the wife in her marriage, her husband, and herself. When man cannot balance his natural and social consciousness, the gap and utter isolation appear. The essay finds evidence from the description of the wife, the children, the husband, and of their talks. It's proved that both the wife and husband are the victims of this isolation. Key words: relation, isolation, social consciousness, natural consciousness, gap Resume: Le present article se concentre sur la relation conjugale, dans laquelle la femme est dominante. L'histoire est une redecouverte de la femme dans son mariage, son mari et elle-meme. Quand l'homme ne peut pas balancer ses conscience naturelle et conscience sociale, le fosse et l'isolation absolue apparaissent. L'article trouve la preuve dans la description de la femme, des enfants, du mari et de leurs conversations. Il est prouve que la femme et le mari sont tous les deux victimes de cette isolation. Mots-Cles: relation, isolation, conscience sociale, conscience naturelle, fosse (ProQuest: ... denotes non-USASCII text omitted.) 1. INTRODUCTION Odour of is a short story by D. H. Lawrence. It was written in the autumn of 1909 and, after revision, was published in the English Review in July 1911. Lawrence later included this tale in his collection of short stories entitled The Prussian Officer and Other Stories, which Duckworth, his London publisher, brought out on 26th November 1914.2 Based on his parents' marriage and his own love affaires, Lawrence advocated in his works the principle of saving the decaying civilization through a rearrangement of personal relationship, especially a rearrangement of relationship between men and women. Most of his works investigate what happened to its hero's relationship with women or men. He and his works pursued the balance of body and soul in marriage. Compared with his other novels, Odour of is only a fragment of life that happened within several hours. And the change of the heroin's consciousness and psychology constitutes the main development of the short story. In the early novels of Lawrence, his heroines can be divided in to these four types, Elizabeth is the kind of dominance,4 as Gertrude Coppard in sons and lovers, The refined daughter of a good old burgher family, meets a rough-hewn miner at a Christmas dance and falls into a romance. But soon after her marriage to Walter Morel, she realizes the difficulties of living off his meager salary in a rented house. The couple fights and drifts apart and Walter retreats to the pub after work each day.5 2. HUSBAND AND WIFE RELATION In Odour of Chrysanthemums, the wife is more in the focus of attention. She also comes from a higher social class than her coal miner husband. From the text we know that from natural consciousness, the wife have loved her husband, and still treasure it in her memory. Don't do that - it does look nasty, said his mother. He refrained, and she, suddenly pitiful, broke off a twig with three or four wan flowers and held them against her face. When mother and son reached the yard her hand hesitated, and instead of laying the flower aside, she pushed it in her apron-band.(27) No, she said, not to me. It was chrysanthemums when I married him, and chrysanthemums when you were born, and the first time they ever brought him home drunk, he'd got brown chrysanthemums in his button-hole. (32) Chrysanthemums symbolize love and the natural world. These pieces of softness shows her real character and emotion which is too much hided by a mancentered society, a industrial force, class consciousness, most importantly her own social consciousness. More evidence can be found from the fact she mended his clothes while waiting. However from most of the descriptions in the text, Elizabeth is a woman of strong personality, imperious, with definite black eyebrows, calm, set, strict, of high dignity, because she didn't went to the bar herself to look for her husband. …
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.000 | 0.001 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.000 |
| Science and technology studies | 0.014 | 0.004 |
| Scholarly communication | 0.002 | 0.001 |
| Open science | 0.000 | 0.003 |
| Research integrity | 0.001 | 0.001 |
| Insufficient payload (model declined to judge) | 0.007 | 0.000 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".