John Steinbeck is among one of the greatest fictional writers of all time. His imaginative but realistic writing style fuses humor and social perception to develop more meaning to his stories. To achieve this he uses a lot of vivid imagery and lots of symbolism within his writings. An extraordinary example of this is found in one of his short stories - “The Chrysanthemums.” Just about everything within the story symbolizes something within the main character’s, Elisa, life as well as serves as a symbol for the views society and the individuals that make up that said society. In this short story he uses symbolism to help express Elisa’s strong desire to become a mother and raise children as well as a symbol for herself and her femininity. …show more content…
The first and most obvious example of symbolism in the story is the chrysanthemums themselves. In modern culture the chrysanthemum symbolizes optimism and joy; in the story the flowers symbolize Elisa’s optimism for children as well as serving as a replacement for the children that she so desires to have. As if they are her own children, she handles the chrysanthemums and cares for her garden with love and care. She is very protective of the flowers and puts up a wire fence around them to Dievendorf 2 protect them from cattle as well as the natural wildlife of the Salinas valley in central California. She makes sure "no aphids where there, no sowbugs or snails or cutworms,” were there either.
"Her terrier fingers destroy such pests before they could get started” (376). In nature the insects listed in the story harm flowers, and just as any good mother, she makes sure that she protects and gets rid of these pest before they have the chance to harm her children. To further my statement, she is very proud of flowers, as if they were children that she has raised. When her husband compliments her flowers, "on her face there was a little smugness" (376). She is obviously pleased by her ability to raise and nurture her flowers. Elisa is proud of her skill at growing flowers, and this reinforces the idea that the chrysanthemums serve as a replacement for the children she wants to have.
Later in the story, the chrysanthemums come to symbol Elisa's femininity. The imagery creates a visual of Elisa’s femininity as she cares for the flowers as though they are her children, but she also maintains a "hard-swept and
hard-polished" home (376). This idea also carries over to her marriage, as she feels as if Henry ignores her femininity. These feelings cause her to feel more hostile toward him. There is an underlying resentment towards her husband because Henry fails to see his error, and Elisa doesn’t communicate them to him. A sense of peace lacks between them, which causes Elisa to become upset with her husband. For instance, when he watches her tend to her flowers he only says, "I wish you'd work out in the orchard and raise some apples that
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big" (376). Henry's inability to understand what Dievendorf 3 Elisa wants leaves her susceptible to her feelings in her encounter with the the old man. The meeting with the tinker reestablishes Elisa's feelings of femininity as a woman. She stops her resistance to the old man’s selling tactics after he describes the chrysanthemums as a "quick puff of colored smoke"(378).
By admiring the chrysanthemums, she perceives that in a way he admires her. She "tears off the battered hat and shakes out her dark pretty hair"(379). With a couple of well said words from the old man, her masculine image has been transformed into a feminine one. The old man serves as a sort of spark in Elisa's life. When she gave the old man the flower pot with the chrysanthemums in them, in a way she was giving him a symbol of her inner-self. She begins to feel hope for herself and her marriage once the old man loads up his wagon and leaves. She sees a "bright direction" in her marriage, as if it’s new start. The encounter with the tinker gives Elisa hope for her to prepare for a more fulfilling life.
Just as the chrysanthemum is a symbol of joy, Elisa’s renewed joy drives her to
prepares for a big evening to come. After the old man leaves the ranch, Elisa scrubs herself "with a little block of pumice, legs and thighs, loins and chest and arms, until her skin was scratched and red" (381). This actions symbolizes her leaving her old self behind by scrubbing the old layers off, which in returns brings new sense of life and change. When she’s getting dressed, she lingers in front of the mirror and admires her body, her femininity. She puts on her new and best stockings and her nicest dress then leisurely puts on her make-up. She is looking forward
to the evening ahead, and she Dievendorf 4 hopes Henry will realize her needs and desires to start a family as well as just being acknowledged as a woman. Unfortunately, her hope is quickly disproven. Henry's best compliment for her after she has gotten all dolled up and stuff is: "You look strong enough to break a calf over your knee, happy enough to eat it like a watermelon" (381). His not so flattering comment on her appearance doesn't do much for Elisa's ego as a woman. Finally, she was broke when she sees the flowers on the road. She feels devastated by the old man’s thoughtless rejection of her soul. He, just like her own husband, failed to appreciate the little things that make her unique. This one symbolic act finally broke down her hope. She realizes that her life is not going to change, her femininity is never going to be fully appreciated nor understood by her husband, and that she must learn to be happy and content with her lackluster of a marriage and unappreciative husband. Her realization of how her future as well as her perception leaves her "crying weakly-like an old woman"(382). In the short story the flowers, chrysanthemums, symbolize Elisa’s desire to become a mother and raise children of her own. To fill the absence of children in her life she grows the chrysanthemums instead and treats them as if they were her own children. This proxy motherhood has served as a sort of coping mechanism for Elisa in her urning for children. In addition, the flowers also symbolize her femininity and in over all just herself in general. In the latter half she gives the old man one of the flowers, and then later finds it on the side of the road. The site of this leads her to the devastating realization that she is and is going to lead a very boring, unfulfilling life.
In this short the Chrysanthemums, written by John stein beck. The author tells a character who is in need of love. Stein back reflects the charazteratiom of Elisa in the story because he shows us how Elisa character changes threw out the story. The traits of Elisa’s show us that Elisa is strong and want affection and resorts to the chrysanthemums as a way to show herself.
The main character in John Steinback’s short story: The Chrysanthemums, is a married woman named Elisa Allen. She is a hardworking diligent young woman. In the opening chapters of The Chrysanthemums, Elisa is seen heartily in a great degree tendering to her gentle flowers. Powerful she is – gentle and conservative with her strength. She knows her weakness. Like the gentle calm flow of water embedding itself into layers of strata – which forms the highest peaks and grandest canyons.
The two short stories have different characters, plot and setting and yet they have a common ground in which human beings are deeply involved. In short, the setting of each work powerfully suggests a rather calm, dull and peaceful mood at a superficial level; however, the main characters are struggling from the uncontrollable passions and exploding desire at heart. First of all, in "The Chrysanthemums" the Salinas Valley is depicted as somewhat dull, like "a closed pot." In addition, its geographical setting represents an isolated atmosphere, and, furthermore, Elisa's actions of handling chrysanthemums can be translated into a static, inactive one. However, when it comes to her concealed passion, the whole picture in this piece can be interpreted in a different way. In fact, Elisa is portrayed as "over-eager, over-powerful" in a sharp contrast to the unanimated space in which she lives. On top of that, Elisa expresses her volition to explore uncharted worlds like the peddler who happens to visit her farm house. Also, it must be noted that, even though Elisa does not reveal her desire openly largely due to the authoritative patriarchal system, Elisa's interior motive is directed toward the violent, bloody prizefights. In other words, the imbalance between the relatively restricted setting and Elisa's vaulting desire to wander into the unknown territory is chiefly designed to strengthen the overall imagery of Elisa, whose drive to experience the violent outer world. At the same time, it can be inferred that appearance (setting) and reality (Elisa's human nature) are hard to understand.
Within Steinbeck's story, "Chrysanthemums," the main character, Elisa Allen, is confronted with many instances of conflict. Steinbeck uses chrysanthemums to symbolize this conflict and Elisa's self-worth. By examining these points of conflict and the symbolism presented by the chrysanthemums, the meaning of the story can be better determined.
Elisa is a trapped woman. She is trapped in her “closed off” (Steinbeck 459) location of the Salinas Valley; trapped in her “blocked and heavy” “gardening costume” (Steinbeck 460); trapped behind her “wire fence” (Steinbeck 460). Elisa is trapped woman, however all of the things that keep her trapped are ultimately hers: “her wire fence” or her constricting clothing (Steinbeck 460). Elisa's inability to step beyond her boundaries ultimately leads to her continued unhappiness and feeling of entrapment in her feminine role.
John Steinbeck's "The Chrysanthemums" shows the true feelings of the main character, Elisa Allen, through the use of setting and her interactions with other characters in the story. By way of vivid descriptions, Elisa's feelings of dissatisfaction over the lack of excitement in her life are portrayed. Her role as a mere housewife and then the subsequent change to feelings of a self-assured woman are clearly seen. These inner feelings are most apparent with the portrayal of Elisa working in the garden with the chrysanthemums, the conversation she has with the man passing through, and finally, when she and her husband are going out to dinner.
One day, when her husband Henry goes to work a traveling salesman stops by the house looking for some new work. There is a sense of slight flirtation at first, but that's just because Elisa is so excited to have conversation with someone else other than her husband. However, once he tries to reveal his sales pitch Elisa becomes irritated and short with the man. It wasn't until the salesman made mention of her chrysanthemum's that, " the irritation and resistance melted from Elisa...
...and ready to be rediscovered again. Early in the story Henry offers Elisa to a dinner in town and half heartedly suggests going to a local fight. Elisa not keen of fights refuses. In retrospect to her inner ambitions Steinbeck tactfully portrays the message that the only way to follow “the bright direction” Elisa strongly wants is to be willing to fight for it. Nonetheless, don’t be fooled to believe any such inspirations to be acquired will come to you. But Elisa verily on the edge at the end of the story asks Henry about the fights and he suggests if she wants to go. She refuses, Steinbeck again symbolically suggesting she is unwilling to fight for what she wants. So her chrysanthemums will remain out of reach until she decides to do so.
Elisa Allen embodies the image of a simple woman eager to escape the confines of a gender defined role in society. Readers are introduced to Elisa as a 35 year old, strong woman living with her husband, Henry, on a ranch in Salinas Valley (Steinbeck 460). Elisa’s masculinity is highlighted from the attire she is wearing to the strength in her hands. Henry affirms that Elisa is capable in her endeavors when he states, “you’ve got a gift with things,” in regards to her garden (Steinbeck 460). Even though Elisa is delighted at Henry’s suggestion that she work in the orchard, the idea does not seem to get a second thought (Steinbeck 460). The idea of a woman working in the orchard is dismissed on the premise that the orchard is not a woman’s place. In Elisa’s account with the man in the wagon, her sexuality exudes in her graphic explanation of picking off the flower buds and being under the stars, to the point that she almost physically touches the man (Steinbeck 463). Her desire would go unsatisfied, as it would not be appropriate for her to act on her impulse. Elisa is searching for fulfillment in life but finds her role to be trivial. Intrigued by the idea of traveling, as the gentleman in the wagon does, she states, “It must be very nice. I wish women could do such things.” She is shot down as the man replies, “It ain’t the right kind of a life for a woman” (Steinbeck 464). This conversation clearly depicts the prevalent inequality of the sexes. Furthermore, once the man leaves in the caravan Elisa cements her urge for something more, looking out at the horizon whispering, “That’s a bright direction. There’s a glowing there” (Steinbeck 464-465).
This frustration is evident when Elisa is first introduced. Her figure is described as "blocked and heavy" because she is wearing heavy gloves, heavy shoes, a "man's black hat," and a big apron that hides her printed dress (Steinbeck 330). Her home has the masculine qualities of being "hard-swept" and hard-polished" (Steinbeck 330). Elisa is bored with her husband and with her life (McMahan 455). Obviously, Elisa is unhappy with the traditional female role and is attempti...
In the opening of the story Elisa is emasculated by the description of her clothing. She wears "a man’s black hat pulled low down over her eyes, clodhopper shoes, a figured print dress almost completely covered by a big corduroy apron…" (paragraph 5). When Elisa’s husband Henry comes over and compliments her garden and ability to grow things Elisa is smug with him and very proud of her skill with the flowers. Her "green thumb" makes her an equal in her own eyes. When Elisa’s husband asks her if she would like to go to dinner her feminine side comes out. She is excited to go eat at a restaurant and states that she would much rather go to the movies than go see the fights, she "wouldn’t like the fight’s" at all (paragraph 21). Elisa is taken aback with her own submissiveness and quickly becomes preoccupied with her flowers as soon as her husband leaves. When the drifter comes and asks Elisa for work to do she is stern with him and refuses him a job. She acts as a man would to another strange man and becomes irritated. When he persists in asking her she reply’s "I tell you I have nothing like that for you to do" (paragraph 46). The drifter mentions Elisa’s chrysanthemums and she immediately loosens up as "the irritation and resistance melt(ed) from her face" (paragraph 51). The drifter feigns great interest in Elisa’s chrysanthemums and asks her many questions about them. He tells her he knows a lady who said to him "if you ever come across some nice chrysanthemums I wish you’d try to get me a few seeds" (paragraph 56). Elisa is overjoyed by any interest in her flowers and gives the man chrysanthemum sprouts to take to his friend.
... real love, she may be able to find fulfillment in her flowers more than she ever has. They can be released into the male world and survive, beautiful and strong, though fragile, just as she has. The chrysanthemums are not Elisa's frustration, they are her hope in a world she sees without hope. Therefore, when the tinker simply drops the flowers on the side of the road, the symbolic weight of the chrysanthemums must be considered. Higdon states that "the crucial question remains whether or not Elisa has been destroyed" (Higdon, 668). The reader can see how the flowers represent mostly a positive symbol of growth and life. Elisa may not have anywhere to turn for real understanding, since men are not able to explore her inner-qualities, but it is better that she grows flowers than shutting off her own emotions and feelings and using others like the men around her.
Since the days of the early Greeks, florigraphy - the language of flowers - has been used to convey "a wide range of human emotions, conditions, events, or ideas" (Seattle n. p.). From the "strength in character" of the gladiolus to the "delicate beauty" of the hibiscus, flowers are symbolic in the message and the image they produce (Tansy n. p.). Tennyson uses florigraphy to symbolize man’s desire to create the perfect Garden of Eden and to expose the contrary emotions the protagonist feels towards Maud. She is "associated with both lily and rose, as both a chaste subject and a sexual object" (Johnson 111). Traditionally, the lily symbolizes "coquetry and purity" and the rose symbolizes passion (Tansy n p.). Maud is the "shrinking reticence" of the lily when the protagonist is content with their relationship and the "aggressive...
All of this insight and analysis of the meaning behind Elisa's chrysanthemums is what opens up the undisclosed doors of this story. If one did not look further into the story, it would seem as if the author was providing a bunch of unnecessary pieces of information about a specific day in the life of Elisa Allen. The chrysanthemums, being the key to the story, give a more in-depth understanding of this woman's life and her struggles that would otherwise not be acknowledged.
As the story unravels, she is approached by a strange man offering his pot repairing services. At first Elisa is apprehensive but is easily befriended by his faked interest in her gardening. This suddenly opens a door in Elisa's mind. She suddenly felt connected to the stranger as her husband makes sarcastic comments about her gardening and seems to want