The Chrysanthemums and the Woman's Emotion

He praises her for her talent with roses, nevertheless to him it is as if she is a miniature girl playing with toys. He does not take her or her garden of flowers seriously. She suggests that maybe she could suffice with the crops, but he doesn't take her seriously. He tells her the men he was raging to turn over bought some cattle, and he suggests they go to townsfolk to celebrate with a movie and dinner. He playfully suggests they go to the fights, but she says she doesn't want to. He says it will take a couple hours to get the cattle with a worker on the ranch and because they will go into town for dinner.

She has term to transplant some chrysanthemums while her maintain and the other cosmos ride into the hills to get the steers which he has sold. We see the love which enzyme-linked-immunosorbent serologic assay has for her gardening:

There was a infinitesimal square flaxen bed kept for rooting the chrysanthemums. With her trowel she turned the priming over and over, and smoothed it and patted it firm. Then she dug ten jibe trenches to receive the sets. Back at the chrysanthemum bed she pulled out the little crisp shoots, trimmed off the leaves of each one with her scissor hold and laid it on a small orderly lot (1511).

And then the gothic arrives. He comes in an "old spring-wagon . . . raddled by an old bay horse and a little grey-and-white burro." He is a " jumbo stubble-bearded man" (1511). There is a "rangy mongrel dog" and the wagon is full of put away which he sells. He is the opposite of everything else in the neat and clea

enzyme-linked-immunosorbent serologic assay runs into the house and washes herself, admiring her body in the mirror afterwards. She dresses "slowly," putting on "her newest underclothing and her nicest stockings and the dress which was the symbolism of her prettiness" (1516).

The man has pretended to alimony about her flowers in order to get the pot for free. Then they have to buy the farm the man on the road. She does not look at him. She tells her husband dinner will be good. He pats her knee. She asks if they could have fuddle, then asks about the prize-fights, as if she wanted to go. But she decides not to, that wine will be enough. Does she want to see men welt up other men because she is angry at the stranger?

Or is she trying to act tough to hide her disoblige? Finally, she turns up her coat collar so "he could not see that she was crying weakly--like an old woman" (1518).

Steinbeck, John. "The Chrysanthemums." 1509-1518.

He asks her for directions, claiming to be a little lost. There is some more communicate about the horse and mule. In the meantime, she notices that he is a big man, not old, but most importantly, "The laughter had disappeared from his face and eyeball the moment his laughing voice ceased. His eyes were dark, and

She leaves off her gloves. She gets a "big red flower-pot" (1514). She gives the man instructions on how to care for the chrysanthemums, and he acts as if he will tell the woman. Elisa has been fully "seduced" by the man's interest in her flowers. She opens up to him in a way that she has probably never opened up to her husband, who has never taken her gardening seriously. It is almost as if she were upset to talk about something as intimate as her kind with the chrysanthemums:

He brings up business, and asks her if she has any work for him, mending pots or sharpening tools. Elisa takes this almost as an insult, as if she never would have broken pots or dull scissors around her house. He acts as if he hadn't heard her and he goes on to talk about what an artist he is a
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