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Symbols and meanings of the chrysanthemums in john steinbeck's story
Symbols and meanings of the chrysanthemums in john steinbeck's story
Symbols and meanings of the chrysanthemums in john steinbeck's story
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John Steinbeck's The Chrysanthemums
The short story “The Chrysanthemums,” by John Steinbeck, is a multi-layered work that contains various symbolic meanings, it is said to be “…one of the best things he ever did” (Parini 146). It has been hailed as a great short story not for the depiction of a cattleman and his wife, but for it’s symbolic meanings. Steinbeck was known for writing about his “…strong rebellion against any repressive power in civilization’s power bloc and his strong sensitivity toward any repressed individual” (Timmerman 177).
This sensitivity toward repressed individuals is quite evident through the portrayal of the confined cattleman’s wife, Elisa, and her encounter with the tinker. Though Steinbeck often struggled with writing his stories, it is said that this one was one of the hardest for him to write (Timmerman 38). It was a “story of a woman he couldn’t get out of his mind” (Timmerman 169). “The Chrysanthemums” is symbolic of Elisa’s failed attempt to escape her mechanical life and the domestic sphere that entraps her femininity and her true self.
The symbolic nature of this story relies on the creation of images of isolation, routine/mechanical lives, and oppression. A feeling of the isolation of the couple and Elisa individually is created through the description of the setting, “As in much of his fiction, this story opens with a personified landscape, a paysage moralisé in which the weather and geographical setting are deeply symbolic gesturing in the direction of the story’s ultimate meaning” (Parini 210). It is described as being “…closed off …from the sky and the rest of the world” (Steinbeck 213). This isolation is further developed as the reader learns that the couple goes into town ...
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...ations. Metuchen: Scarecrow P, 1992.
French, Warren. John Steinbeck’s Fiction Revisited. Ed. Frank Day. New York: Twayne, 1994.
Hapke, Laura. Daughters of the Great Depression: Women, Work, and Fiction in the American 1930’s. Athens: U of Georgia P, 1995.
Leroy, Thomas. “Steinbeck’s THE CHRYSANTHEMUMS”: Explicator 45.3 (Spring 1987): 50-51.
Parini, Jay. John Steinbeck: A Biography. Markham: Fitzhenry &Whiteside Ltd, 1995.
Steinbeck, John. “The Chrysanthemums.” 1934. Literature: An Introduction to Fiction, Poetry, and Drama. Eds. X.J. Kennedy and Dana Gioia. 3rd. ed. New York: Longman, 2002. 221-220.
“Symbol” Literature: An Introduction to Fiction, Poetry, and Drama. Eds. X.J. Kennedy and Dana Gioia. 3rd. ed. New York: Longman, 2002. 210-212.
Timmerman, John H. The Dramatic Landscape of Steinbeck’s Short Stories. Norman: U of Oklahoma P, 1990.
Steinbeck, John. The Grapes of Wrath, The Moon is Down, Cannery Row, East of Eden, Of Mice and Men. New York: Heinemann/Octopus, 1979. pp.475 - 896.
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.
Hayashi, Tetsumaro. A New Study Guide to Steinbeck's Major Works, with Critical Explications. Scarecrow Press, Jan 1, 1993
Known as the “Empress Of Blues”, Bessie Smith was said to have revolutionized the vocal end of Blues Music. She showed a lot of pride as an independent African-American woman. Her style in performance and lyrics often reflected her lifestyle. Bessie Smith was one of the first female jazz artists, and she paved the way for many musicians who followed.
Steinbeck, John. “The Chrysanthemums” Literature: An Introduction to Reading and Writing. Ed. Edgar V Roberts and Robert Zweig. 10th ed. New York: Pearson Longman, 2012. 416-422. Print.
Elisa Allen is a thirty-five-year-old woman who lives on a ranch in the Salinas Valley with her husband Henry. She is "lean and strong," and wears shapeless, functional clothes (Steinbeck 203). The couple has no children, no pets, no near neighbors, and Henry is busy doing chores on the ranch throughout the day. Elisa fills her hours by vigorously cleaning the ''hard-swept looking little house, with hard-polished windows,'' and by tending her flower garden (204). She has ''a gift'' for growing things, especially her chrysanthemums, and she is proud of it (204).
The Salinas Valley is symbolic to Elisa’s inner feelings. The farm responsibilities Elisa shared with her husband Henry encouraged “cold and tender” thoughts that often left Elisa feeling “closed off from the rest of the world” (paragraph 1). Her consistent lonely and empty days began to “fog” the belief of any better days to come. The [quiet of waiting] was yearning for any “sharp and positive” (paragraph 2) notion that had yet to be nurtured. But until Elisa was given any chance to set free of such desires she had to remain forcibly content inside of her chrysanthemum garden.
At first glance John Steinbeck’s "The Chrysanthemums" seems to be a story about a woman whose niche is in the garden. Upon deeper inspection the story has strong notes of feminism in the central character Elisa Allen. Elisa’s actions and feelings reflect her struggle as a woman trying and failing to emasculate herself in a male dominated society. Elisa is at her strongest and most proud in the garden and becomes weak when placed in feminine positions such as going out to dinner with her husband. Steinbeck carefully narrates this woman’s frequent shifts between femininity and masculinity over a short period of time.
Steinbeck’s “The Chrysanthemums” uses the tension between a wandering homeless man and Elisa Allen to suggest that although many women are dissatisfied with their roles in the household, the deepness at which gender roles are ingrained in society prevents them from assuming the positions that they want. Elisa flirts with the homeless man, but is reminded by him that her place as a woman is in the household; although she feels dismay at the thought, she does not challenge it due to the apparent inevitability of her situation. After passing him on the road later she is reminded of the fact that she will never be free to live life like the man, causing her to cry and feel “like an old woman:” (Steinbeck, 268) helpless when it comes to controlling
Child sexual tourism and the commercial sexual exploitation of women are widespread and well-known practices in Thailand. A sexual tourist is a person who travels from a foreign country in order to commit sexual acts that are illegal or socially unacceptable in their home country and thus avoid prosecution or a personal sense of responsibility by paying for the “service” from an exploited woman or child. Commercial sexual exploitation involves the recruitment, manipulation and forcing of women and children into prostitution, in exchange for money (Vejar & Quach, May 2013) (Newman, Holt, Rabun, Phillips, & Scott, March 2011). Sexual exploitation can also include the transport of women from other countries under false pretenses, such as for
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