Odour of Chrysanthemums, by D. H. Lawrence, once again is full of themes and motifs. One could study this text and come up with many different interpretations. In this story Elizabeth seems to have a distorted view of realty. Just as the darkness has obscured her vision, so Elizabeth’s anger has distorted her perception of her husband and she has failed to recognize the reality of his essential difference. Similarly, her sense of smell has been deluded by her associations. She has associated the odor of the beautiful, though disheveled, chrysanthemums, a sign of beauty even in the mining village, with the main stages of her life with her husband, in which, as she tells her children, she has been a ”fool.” Only after her husband is smothered in the mine does she recognize that the smell of the chrysanthemums is really the smell of death. She has been more concerned with maintaining respectable appearances, such as when she ignores the body of her husband to clean up the dropped vase of chrysanthemums, than with facing concrete realities. Finally, after she has cleared the dirt from her husband’s body, she sees the reality of his masculine beauty and his difference from herself, and the gap which has always existed between them.
D. H. Lawrence菊花的清香，，再次充满了主题。人们可以研究这一文本，并提出了许多不同的解释。在这个故事里，伊丽莎白似乎对不动产有一种扭曲的看法。正如黑暗笼罩了她的视野，伊丽莎白的愤怒扭曲了她对她的丈夫的看法，她没有认识到他本质上的区别的现实。同样，她的嗅觉一直迷恋她的协会。她有相关的美丽，气味虽然凌乱，菊花，甚至在挖掘村庄美的标志，与她的丈夫，她生活中的主要阶段，她告诉她的孩子，她一直是一个“’fool。”只有在她丈夫被我她认识到菊花的味道真的是死亡的气息。她一直更关心保持体面的外表，比如当她忽略了丈夫的身体清理掉花瓶的菊花，比面对的具体现实。最后，她清除了丈夫身上的污垢后，她看到了他自己的真实的美和他自己的区别，和他们之间一直存在的差距。
Lawrence also seems to reference rolls of sex in his story. Lawrence stresses the essential separation of all people, particularly the separation of men and women. This is indicated by Elizabeth Bates’s emotional distance from all those around her, with the exception of her daughter, Annie, and with the way in which characters talk at, rather than engage in dialogue with, each other. Recognition of the separation of all people and particularly of men and women, for Lawrence, must take place in the dark, through the sensual channels of dimmed sight, muffled odors, and touch rather than through intellectual understanding. Elizabeth Bates recognizes the apartness of her husband by gazing on and touching his still-warm body. She recognizes that he is now apart from her in the world of death, just as during his life he was apart from her in his sexual difference, his masculinity. Similarly, his son John, who resembles his father, is described as being separate from his mother in his shadowy darkness and even in his ”play-world.” Finally aware of the ”infinite” separation between herself and her husband whom ”she had known falsely,” Elizabeth will submit to life, her new ”master,” as she had not submitted to her husband by acknowledging his essential otherness.
劳伦斯似乎也参考了他的故事中的性故事卷。劳伦斯强调所有人的本质分离，特别是男人和女人的分离。这是由Elizabeth Bates的情感距离，从她周围的所有这些，除了她的女儿，安妮，和的方式，在其中的人物交谈，而不是进行对话，对方。对于劳伦斯，所有人的分离，特别是男人和女人，识别，必须发生在黑暗中，通过模糊的视线，感官渠道低沉的气味，触摸而不是通过知识的理解。Elizabeth Bates意识到她丈夫的冷漠凝视，触摸身体仍然温暖自己。她认识到，他现在除了她在死亡的世界，就像在他的生命中，他除了她在他的性差异，他的男子气概。同样，他的儿子约翰，他像他的父亲，被称为是在他的阴影里，甚至在他的’play-world从母亲分开。”终于意识到“’infinite”分离在她和她的丈夫她认识了错误，”伊丽莎白将向她的新的生活，“主人，”她不承认的本质差异向她的丈夫。