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.
The wire fencing with which Elisa surrounds her garden is designed to “protect her flower garden from cattle and dogs and chickens.” (Steinbeck 460) What the fence truly does is keep Elisa in. Her energy is isolated to that which the fence encompasses: the house and the garden. In The Chrysanthemums the word ‘fence’ is repeated six times throughout the story with ‘chicken wire’, meaning the fence, said once. This repetition alludes to the fact that the fence is more than a mere object, but a symbol of Elisa's containment in her domestic role. The fence represents boundaries that Elisa will not allow herself to cross.
Elisa's unhappiness in her role as the wife of a cattle farmer is clear in her gardening. Through the authors detailed diction it is clear that gardening is her way of freeing herself from her suffocating environment. “The chrysanthemum stems seemed too small and easy for her energy” which is “over-eager” and “over-powerful” (Steinbeck 460). The intensity with which she gardens, “terrier fingers destroy[ing] such pests before they could get started” suggests more than simply a deep interest, but a form of escape completely submerging her self into the task (Steinbeck 460). It is possible that some...
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... husband, men, or society” (Renner). It is “pointedly identified as 'Elisa's wire fence'” (Renner).
Elisa life in the “closed pot” of the Salinas Valley is not one that she wants, but it is one that she cannot escape. Without the encouragement of a man, she cannot find the strength to look beyond her life of gardening and household chores. Until she does, she will remain trapped in role as a house-wife.
Works Cited
Renner, Stanley. “The Real Woman Inside the Fence in ‘The Chrysanthemums’.” Modern Fiction Studies. Vol. 31. No.2. (Summer 1985). 305-317. print; reprinted in Short Story Criticisms. Vol.37. eds. Anja Barnard and Anna Sheets Nesbitt (Farmington Hills: The Gale Group, 2000). 333-339. print.
Steinbeck, John. “The Chrysanthemums”. Literature: Reading Fiction, Poetry, Drama. 2nd ed. Ed. Robert DiYanni. New York: McGraw, 2008. 459-466. Print.
Women’s Escape into Misery Women’s need for male support and their husband’s constant degradation of them was a recurring theme in the book House on Mango Street. Many of Esperanza’s stories were about women’s dreams of marrying, the perfect husband and having the perfect family and home. Sally, Rafaela, and Minerva are women who gave me the impression of [damsel’s in distress].CLICHÉ, it’s ok though. It’s relevant They wished for a man to sweep them of their feet and rescue them from their present misery. These characters are inspiring and strong but they are unable to escape the repression of the surrounding environment. *Cisneros presents a rigid world in which they lived in, and left them no other hope but to get married. Esperanza, however, is a very tough girl who knows what she wants. She will keep dreaming and striving until she gets it. She says, "I am too strong for her [Mango Street] to keep me here" (110). Esperanza learned from all of these women that she was not going to be tied down. She said, "I have decided not to grow up tame like the others who lay their necks on the threshold waiting for the ball and chain" (88). **Especially after seeing that Sally was suffering so much. Sally’s father is making her want to leave home by beating her. Sally "said her mother rubs lard on the places were it hurts" (93). There is not enough lard in the world to be able to cure the pain within Sally’s heart. Sally, "met a marshmallow salesman at a school bazaar" (101). Pretty soon " sally got married, she has her house now, her pillowcases and her plates" (101). Her marriage seems to free her from her father, but in reality she has now stepped into a world of misery. This was supposed to help her heal; " she says she is in love, but I think she did it to escape." (101). Unlike the other women Sally has no escape, no poetry, not even papaya coconut juice, not to mention, " he does not let her look out the window" (102). That is why "she sits at home because she is afraid to go outside without his permission."(102). Rafaela’s situation also involves imprisonment in her own home. Cisneros introduced us to Rafaela, a young beautiful girl whose expectations from marriage were to obtain a sweet home to live in. Instead...
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.
American Literature. 6th Edition. Vol. A. Ed. Nina Baym. New York: W.W. Norton & Company. 2003. 783-791
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 Chrysanthemums" is a good depiction of most marriages in the early 1900's, the husband is the chief breadwinner and the wife is considered nothing more than a housewife. "The simple story outlines are enriched by irony and imagery which contrast the rich land and the sterile marriage, the fertile plants and Elisa's inner emptiness" (McCarthy 26). The story begins by introducing the setting: "The high grey-flannel fog of winter closed off the Salinas Valley from the sky and the rest of the world" (Steinbeck 115). This vivid illustration unconsciously gives the reader a look into the dominating theme. However, it is not until the climax of the story that the reader begins to notice Elisa's true pain and need for her own self-identity. The main protagonist i...
An extremely capable women, Elisa Allen, armed with her scissors, clodhopper shoes, corduroy apron, and a man’s hat, seems to be anything but a demure, timid women. However, her husband, Henry, views her in a stereotypical way, seeing her as a helpless woman who is disinterested in practical concepts. Though he acknowledges she has “got a gift with things,” he limits her gifts to things that deal with a typical woman’s job: gardening. In addition, Henry jokes, “I wish you’d work in the orchard and raise some apples that big,” though he does not really except, or desire, her to leave the hobby of her flowers to perform “real” labor around the farm. Furthermore, after Henry decides to treat her to dinner, he playfully jokes with her about going to a boxi...
Many readers who analyze Steinbeck's short story, "The Chrysanthemums", feel Elisa's flowers represent her repressed sexuality, and her anger and resentment towards men. Some even push the symbolism of the flowers, and Elisa's masculine actions, to suggest she is unable to establish a true relationship between herself and another. Her masculine traits and her chrysanthemums are enough to fulfill her entirely. This essay will discuss an opposing viewpoint. Instead, it will argue that Elisa's chrysanthemums, and her masculine qualities are natural manifestations of a male dominated world. Pertinent examples from "The Chrysanthemums" will be given in an attempt to illustrate that Elisa's character qualities, and gardening skills, are the survival traits she's adopted in order to survive, and keep her femininity and vulnerability in a man's world.
Steinbeck, John. “The Chrysanthemums.” Fiction 101: An Anthology of Short Fiction. James H. Pickering. Twelfth Edition. Pearson Education, Inc., 2010. 1162-1168
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...
Throughout the play, readers see an incomplete fence which symbolizes Rose (Troy’s wife) and Troy’s drifting relationship. Rose wants Troy and Cory to build a fence to keep her loved ones protected. This is evident when Rose is seen singing the church hymn, “Jesus, be a fence all around me every day. Jesus, I want you to protect me as I travel on my way” (I. ii). This insinuates the fact that Rose wants to keep her family close. Rose and Troy’s relationship seemed to be breaking down after eighteen years and the fence may have also been a way to keep Troy in Rose’s life. Yet, Troy has been in no rush to finish the fence. He sees it as some sort of confinement. Fences contain a lot of barriers that Troy tries to keep down; one barrier being his marriage. Troy claims that he has so much love for Rose, but readers see that exclusive relationships makes him feel caged in. He keeps the fence unfinished because he knows that if he finishes it than it will symbolize the end of his escape to his mistress, Alberta. Troy’s affair builds a fence that separates his marriage causing his actions to affect Rose by caging her in with a daughter that is not hers: “From right now . . . this child got a mother. But you a womanless man.” Rose tried to use a fence of divine power to keep her family protected. Troy neglected this by committing adultery, leavi...
One way the Fence is able to represent the plot of the novel, is because it is the physical barrier that is supposed to keep all safe, has many flaws. The Fence is a wall that is electrified, separating the cured from uncureds. The cureds believe that the wall will always keep them safe from the disease, but as Lena finds out in the first novel, Delirium, it has flaws. The flaws of the Fence, represent the flaws of society that Lena is put into after she escapes into the Wilds. The indomitable-never-giving-up movement of eradicating the cure, love finding it’s way into the cured the cities, and how weak the Government is becoming, are a few of the flaws that the flaws in the fence represent. One other way that the fence is able to represent the plot of Pandemonium, is how it separates one’s life from their past and their present. Once the fence is crossed, there is no coming back to live normally. Raven told Lena over and over after she crossed: “There is no before. There is only now, and what comes next” (Oliver 21). This quote shows that the fence may instil fear on the inside, but on the outside it’s a symbol of letting go. Letting go of the past they left behind and beginning a new life as a new person who is allowed to love. Throughout the whole novel of Pandemonium by Lauren Oliver, the Fence is a symbol of flaws and the symbol of separation between the
He is like other authors, sympathetic to their opposite gender. “The Chrysanthemums” is one of his works were he basically expresses his opinion and how he feels about women. This story is about Elisa Allen, a woman who’s is doing her favorite thing planting and growing chrysanthemums. She is very passionate about doing this. Elis feels superior and strong when working with her flowers, “The chrysanthemum stems seemed too small and easy for her energy.” (Steinbeck, John 1) Her husband doesn’t appreciate her talent. He tells her “I wish you’d work out in the orchard and raise some apples that big.” (Steinbeck, John 2) The inferior and weak woman starts to come out now. It came out even more after her husband said that but also when she and her husband are driving to town. She sees the flowers the pot mender had asked for dumped on the side of the road. He must have dumped them right after he left her house. The pot mender played her. He acted interested in what she was doing so Elisa would have sympathy for him and give him something to fix up. With the way her husband and the pot mender acted toward her and her plants made her feel rejected and hurt.
In Odour of Chrysanthemums, Elizabeth Bates is the ingénue wife in a loveless marriage disguised in family and convention. She had fostered a world around her husband’s addiction, but it was a world that was deep set in a shaky truth, not in reality. Her life was concrete in the truth that her make-shift love had fostered, isolating her from what an agape love would have revealed. Lawrence paints Elizabeth as a stern mother and angry wife, who, night after ...
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 by her own submissiveness and quickly becomes preoccupied with her flowers as soon as her husband leaves.
Lawrence, D.H. “Odour of Chrysanthemums.” The Norton Anthology of English Literature. Gen. ed. Stephen Greenblatt. 8th ed. Vol. F. New York: Norton, 2006. 2172-2199. Print.