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Gender Roles in Literature
Gender Roles in Literature
Chrysanthemums symbolism john steinbeck
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From all areas of the world, people have been changing their forms of government in an attempt to decide on what’s best for their country. Apart from most, Communism is targeted toward making all equal, and it eliminates the concept of a dictator. The contradictory fact is that the concept fails when people cannot reach an agreement themselves, and then they realize a leader is needed to make the final decisions. Of course, with greed to be on top, people do not stray from this empty position for long. As unfortunate as it is, even when people decide to become equal, someone always wants to be the king. When this thirst for power is between men and women rather than the dictator and the country, men try to be in control while women serve as the poor villagers of the communistic country. “The Chrysanthemums” was written to show us how men blindly take over and women are degraded in the process. Steinbeck shows how society mistreated women by using gender roles and symbolism to put the reader in the “clod-hopper shoes” and “heavy leather gloves” of Elisa Allen during the 1930’s. Symbolism is first used in the setting to show how Elisa’s life is like the land that surrounds her garden. This example explains why she is unable to escape: The high gray-flannel fog of winter closed off the Salinas valley from the sky and from all the rest of the world. On every side it sat like a lid on the mountains and made of the great valley a closed pot (Skredsvig 4). If the valley represents Elisa’s life, then it obviously shows that she is being sheltered or trapped, cut-off by the sky. One critic explains this by writing: “Within this closed pot, Elisa operates within even narrower confines” (4). The tinker’s dogs symbolize the three main ... ... middle of paper ... ...vid Leon. "The Chrysanthemums: Overview." Reference Guide to Short Fiction. Ed. Noelle Watson. Detroit: St. James Press, 1994. Literature Resource Center. Web. 13 Mar. 2011. Palmerino, Gregory J. "Steinbeck's 'The Chrysanthemums'." The Explicator 62.3 (2004): 164+. Literature Resource Center. Web. 13 Mar. 2011. Skredsvig, Kari Meyers. "Women's Space, Women's Place: Topoanalysis in Steinbeck's 'The Chrysanthemums.'." Revista de Filología y Lingüística de la Universidad de Costa Rica 26.1 (Jan.-June 2000): 59-67. Rpt. in Short Story Criticism. Ed. Jelena O. Krstovic. Vol. 135. Detroit: Gale, 2010. Literature Resource Center. Web. 13 Mar. 2011. Sullivan, Ernest W., II. "The Cur in 'The Chrysanthemums'." Studies in Short Fiction 16.3 (Summer 1979): 215-217. Rpt. in Literature Resource Center. Detroit: Gale, 2011. Literature Resource Center. Web. 13 Mar. 2011.
The difference between men and women is a very controversial issue, while there are obviously physical differences; the problem is how the genders are treated. It is stereotypically thought that the men do the labor work and make all the money, while the women stay in the house, cooking, cleaning and taking care of the children. While this stereotype does not exist as much in the 21st century, it was very prevalent in the 1900s. By using many different literary tools such as character development, symbolism, and setting, Alice Munro’s Boys and Girls and John Steinbeck’s The Chrysanthemums challenge this controversial topic of the treatment of women versus men in the 1900s.
Women had no choice but to follow whatever society told them to because there was no other option for them. Change was very hard for these women due to unexpected demands required from them. They held back every time change came their way, they had to put up with their oppressors because they didn’t have a mind of their own. Both authors described how their society affected them during this historical period.
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...
Elisa’s inner feelings are most apparent with the portrayal of her working in the garden, the conversation she has with the “Fixer-Guy”, and finally, when she and her husband are going out to dinner. Steinbeck offers an array of different details concerning the character of Elisa Allen. The main detail being that she is a strong woman on the inside although she seems to struggle in showing it throughout the story. Because of the "Pot Fixer," she is able to act, although for a short time, like that strong woman. Steinbeck unfortunately brings Elisa full-circle, back to where she started. She notices on the way to dinner her chrysanthemum sprouts at the roadside. This, along with her husband’s hesitation to allow her curiosity, puts her back where she started, canceling her emergence. One must ask after reading this short story if Elisa will continue this discontented lifestyle. Or will she be able to blossom beautifully for good, as do her chrysanthemums?
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.
... 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.
Both Ernest Hemingway’s Hills Like White Elephants and John Steinbeck’s The Chrysanthemums portray oppressed female characters in the early 1900s. In Hemingway’s short, Jig is oppressed by her lover known only as “The American,” whereas, the main character in The Chrysanthemums, Elisa Allen, feels the weight of oppression from society (male dominated) as a whole. Although the driving force of the two women’s subjugation varies slightly, their emotional responses to such are what differentiate the two.
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...
The presence of symbolism throughout the novel is undeniable. Each of the symbols in the work are representative of a certain aspect of the characters lives. Dreams showed readers the desire of characters to escape their realities. The twins that Senora Valencia gives birth to are clearly meant to represent the neighboring nations of Haiti and The Dominican Republic. Water is primarily symbolic of life and death, but in this case readers are expected to come to their own conclusions regarding the river. Using these symbols allows the author to make discrete yet important additions to her writing without disrupting the format of the novel. Aside from serving as a benefit to the authors writing style, they can also be seen as an artistic addition which brings the entire novel to a different level. The use of symbolism in The Farming of Bones is not only extraordinarily well written but also completely essential to the story as a whole.
The character Elisa in John Steinbeck’s short story “The Chrysanthemums” is a woman who is unsatisfied with her life as a farmer’s wife. She feels that she is capable of doing more with her life than planting flowers and being a typical housewife. When talking to the man in the wagon Elisa states, “It must be nice, she said. It must be very nice. I wish women could do such things” (586). The idea of being able to live on the road and travel wherever she wants causes her to ache for another life. Since she is a woman it is not socially acceptable for her to live life that way, in which she is saddened that men are given more possibilities. Before the man in the wagon leaves, Elisa says, “You might be surprised to have a rival some time. I can
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.
The valley is described as a “desolate” place where “ashes grow like wheat into ridges and hills into grotesque gardens”. (21) Ashes that dominate the area take the shape of natural greenery. The term “grotesque gardens” uses alliteration, with juxtaposition; to highlight the odd pairing of ashes and greenery. Ashes are associated with death while ridges and “gardens” represent the potential to flourish and grow in the promise and ideal of equality as in “the trees that had made way for Gatsby’s house, had once pandered in whispers to the last and greatest of all human dreams.” (143) The trees that once stood here were able to speak to man’s dreams, which allude to America, the land able to speak to man’s dreams and capacity for wonder. All this is replaced by grey ash that suffocates the inhabitants, restricting them to their social class. This presents a bleak image of hopelessness that surrounds the valley.
The Valley of Ash, the least described region of the book, is an impoverished region connecting the prosperous, the wealthy New York City and the wealthier Long Island. The neighborhood is a “dismal scene” (23), which Nick Caraway is forced to view every time he rides the train into the city. The name valley of ash is an informal name deriving from the sheer quantity of ash, littering the city. Ashes cover and define everything in the city: the “ridges and hills and grotesque gardens”, the “houses and chimneys”, and the “men”. Similarly, the residents of the valley are hardly characterized by Caraway, because he cannot understand them. The smoke “obscures” and “obfuscates” the actions of these men both literally and figurative: a rich man like Caraway cannot understand the pure and intolerable poverty. The residents of the valley are plain and not very interesting. Most predominately featured ...
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. 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 figure print dress almost completely covered by a big corduroy apron." (paragraph 5).