Chrysanthemums present people's flaws of men to understand and recognize such a fact. Through his text Steinbeck examines people's limits. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay The first lines of “The Chrysanthemums” not only set the scene of the story, winter in Salinas Valley, California, but also capture the idea of limitation. Steinbeck writes: “The high flannel-gray fog of winter closed 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 the great valley a closed vessel” (Steinbeck 389). The “grey” color and dense, warm, “flannel” consistency of the fog limits visibility, effectively separating the valley and its inhabitants from the rest of the world. The idea of enclosure continues when the author compares the fog attached to the mountains and valley to the lid of a pot. Not only does the fog reduce visibility, but, as the simile suggests, the energy and spirit within it cannot express itself. As if looking through a telescope the wrong way, Steinbeck moves from a panoramic view of the valley, across the river, to Henry Allen's The Ranch at the Foot, and finally to the protagonist herself, Henry's wife Elisa. Through the narrowing perspective, Steinbeck makes her small and insignificant, almost lost in a larger world. The initial image of Elisa confined within "the wire fence that protected her flower garden from cattle, dogs and chickens" (390), supports the idea of limitation, her world within a more ample. The hard, unyielding quality of the “wire fence,” along with the list of potential dangers that seem more extensive through the repetition of “and,” suggests that she, like her chrysanthemums, needs substantial protection from the outside world . Behind the walled garden is the Allens' home, “a white farmhouse with red geraniums thick around it all the way to the windows” (390). Elisa's house, similar to her garden, appears like a prison, the geraniums resemble "high" and "close" security walls. The quantity of flowers, together with their height, "as high as the windows", limits both vision and movement. Such physical images of restraint: the fog, the walled garden and the house symbolize limitations, imprisonment and limited vision. The author delves into the topic of limitations by considering Elisa Allen herself. Unlike the “figured print dress” (390), the shapeless, functional gardening clothes she wears obscure her femininity. Described as a “costume” (390), his clothing alters or masks his true appearance. The weight and size of the clothing: the “clodhopper shoes,” the “large corduroy apron” with “large pockets,” and the “heavy leather gloves” covering her hands, hide the real Elisa (390). The very length of the third sentence illustrates the weight and shapelessness of the dress that hides it. Along with the “man's black hat,” the clothing emasculates her, Elisa's sexuality is almost completely “blocked” or restrained (390). The chrysanthemum seeds and gardening tools: “trowel,” “scratcher,” and “knife,” indicating fertility and perhaps sexuality, remain buried deep in the pockets of Elisa’s apron (390). Although her youth has passed, at thirty-five Elisa has plenty of time to live. In contrast to the fog that blinds the area, his eyes “clear as water” (390) display not only impressive vision and probablewisdom, but also the ability and desire to see beyond the immediate. It clearly has a lot to offer. Not just attractive, she has maturity and spirit. However, Steinbeck deduces that Elisa's energy can barely be contained within her limited lifestyle. As she cuts down the old man with the chrysanthemum stems she appears "too eager, too powerful" as if the thick stems seemed "too small and easy for her energy" (390). Likewise, his “little house” looked “thoroughly swept,” the windows “thoroughly polished” (390). His enthusiasm and skills make his efforts too extreme for the tasks at hand; therefore, the stems and house appear smaller than likely. Like the chrysanthemums she tends, Elisa has the potential to bloom widely if only the limitations placed on her would disappear. The two male characters in the text represent the society that places limitations and constraints on Elisa and other women. Henry Allen and the visiting tinker, at separate times, each converse with her on the other side of the wire fence. The fact that she remains in the enclosure of her garden implies that Elisa cannot be part of the world of men. Likewise, men, unable to appreciate his needs and talents, remain without. At the beginning of the story, Elisa simply watches from afar, while her husband does business with two other men. Steinbeck writes that she “looked across the yard and saw Henry, her husband, talking to two men in suits” (389). The distance between her and the men, underlined by the words “over there”, confirms that as a woman she must be excluded from meaningful discussions even if she seems more intelligent than her husband or the tinker for that matter. The misspelled words “scissors” (391) and lawn “mores” (391), as well as the paint dripping on the tinker's cart, seem sloppy compared to Elisa's efficient industry in the house and garden. Despite his limitations, his lack of intelligence and perception, the tinker has the freedom to be and do what he wants. He “[goes] from Seattle to San Diego and back every year. He takes all [his] time. About six months each way. [He] [aims] to follow the good weather” (392). Short sentences give the impression of having time to waste. Traveling to San Diego, he tracks the sun, warm weather and possible prospects. However, Elisa Allen remains in the winter fog. Steinbeck implies that man has opportunity, woman none. When the tinker assumes, “It's not the right kind of life for a woman,” Steinbeck writes, “her upper lip lifted slightly, showing her teeth. 'How do you know? How can you say that?'” (394). The fact of baring the teeth alludes to both aggression and defense. Later, as she watched the tinker leave, Elisa whispered, “That's a brilliant direction. There is a glow there” (395) because he senses the possibility of a more fulfilling life. His whisper suggests awe but also guilt as he "looked around to see if anyone was listening" (395). Through Elisa, Steinbeck questions the necessity of the limits that society places on women. Within the limits of a male-dominated society come the further confines of marriage. Aware of her responsibilities, Elisa keeps the house clean and takes care of her husband's needs. When Henry returned from work, “Elisa [had] laid his dark suit on the bed, and behind it his shirt, socks, and tie” (395). The use of the comma, together with the repetition of “and” lengthens the sentence. In her efficiency, she meets Henry's every need, but the task seems exhausting. In turn, Henry cares for his wife: he compliments her gardening skills and offers to take her out to celebrate his affair. Yet, although their conversation seems pleasant, it lacks spontaneity and familiarity. Elisahe comments “good” (390) on Henry's deal and again on the proposal of a night out. The repetition of his bland response: “Well… Oh, yes. It will be fine” (390), suggests a lack of real interest. Likewise, Henry must “put on his joking tone” (391). The fact that he has to “wear” a relaxed tone indicates an unnatural strength and rigidity between them. In contrast, Elisa and the tinker converse easily and with humor. Steinbeck writes, “The man caught her laughter and echoed it heartily” (391). The word “echoed” captures the naturalness of their chatter. Sensing the easy familiarity they share, Elisa's repressed sexuality begins to emerge. Although Elisa does not seem to notice her husband's appearance, her quick assessment of the tinker's worker reveals interest. His interest intensifies as he observes her chrysanthemums and, by extension, her. In Elisa's haste and excitement to gather little shoots for the tinker to take, she temporarily forgets the narrowness of her life and “[rips] off [her] battered hat and [shakes] her beautiful dark hair” ( 393). The verb “tear” indicates not only passion but also the desire to simply be herself. By taking the man's hat off, he lets his femininity emerge. When the tinker lets himself be taught and guided by Elisa's gardening experience, his newfound freedom acts like an aphrodisiac. Steinbeck writes how “her breasts swelled passionately” (394) and her “voice became hoarse” (394), releasing her previously confined sexuality. When the tinker has left, Elisa enters the house to take a bath. The description of her rubbing her "legs and thighs, loins, chest and arms, until her skin was scratched and red" (395) reveals her completeness and determination to simply be herself. When she looks at her naked body, Elisa finally experiences complete freedom, without restrictions and limitations. Society requires that Elisa's freedom from restrictions be short-lived. The change in Elisa's appearance creates tension between husband and wife. When Henry leaves the bathroom, Elisa “stiffened and her face tensed” (396). She feels a combination of apprehension and hope, wanting to elicit a romantic or sexual response from her husband. Although he sees a positive change in his wife's comment, "You look different, strong, and happy" (396), he seems confused and uncomfortable with her transformation. Steinbeck describes how Henry “made a blunder” and seemed “bewildered” (396). His limitations make it difficult for him to accept her as anything other than a dutiful wife or perhaps understand her need for something more. Recognizing defeat, Elisa puts her hat back on before leaving the house to join her husband. The firm action of “[pulling] it here and [pressing] it there” captures his resignation as his true self once again disappears. When Elisa sees the chrysanthemum buds abandoned on the side of the road, her rejection seems total. The final scene between the couple creates pathos. Henry's eagerness to please his wife with the offer of more frequent outings and wine with dinner simply falls short. In turn, Elisa rejects her instinctive desire to witness a fight with all the passion and excitement implied, the fighting gloves “heavy and soaked in blood” (396). Elisa convinces herself: “Oh no. No, I don't want to go. I'm sure not” (397). Clearly it does. Once his regression is complete, he turns up the collar of his coat to hide his emotion. His strength gives way to weakness, and when limitations return, his sense of identity fades. Please note: this is just an example. Get a custom paper from our expert writers now. Get a Custom Essay In “The?

Topic > Chrysanthemums present people's flaws of men to understand and recognize such a fact. Through his text Steinbeck examines people's limits. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay The first lines of “The Chrysanthemums” not only set the scene of the story, winter in Salinas Valley, California, but also capture the idea of limitation. Steinbeck writes: “The high flannel-gray fog of winter closed 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 the great valley a closed vessel” (Steinbeck 389). The “grey” color and dense, warm, “flannel” consistency of the fog limits visibility, effectively separating the valley and its inhabitants from the rest of the world. The idea of enclosure continues when the author compares the fog attached to the mountains and valley to the lid of a pot. Not only does the fog reduce visibility, but, as the simile suggests, the energy and spirit within it cannot express itself. As if looking through a telescope the wrong way, Steinbeck moves from a panoramic view of the valley, across the river, to Henry Allen's The Ranch at the Foot, and finally to the protagonist herself, Henry's wife Elisa. Through the narrowing perspective, Steinbeck makes her small and insignificant, almost lost in a larger world. The initial image of Elisa confined within "the wire fence that protected her flower garden from cattle, dogs and chickens" (390), supports the idea of limitation, her world within a more ample. The hard, unyielding quality of the “wire fence,” along with the list of potential dangers that seem more extensive through the repetition of “and,” suggests that she, like her chrysanthemums, needs substantial protection from the outside world . Behind the walled garden is the Allens' home, “a white farmhouse with red geraniums thick around it all the way to the windows” (390). Elisa's house, similar to her garden, appears like a prison, the geraniums resemble "high" and "close" security walls. The quantity of flowers, together with their height, "as high as the windows", limits both vision and movement. Such physical images of restraint: the fog, the walled garden and the house symbolize limitations, imprisonment and limited vision. The author delves into the topic of limitations by considering Elisa Allen herself. Unlike the “figured print dress” (390), the shapeless, functional gardening clothes she wears obscure her femininity. Described as a “costume” (390), his clothing alters or masks his true appearance. The weight and size of the clothing: the “clodhopper shoes,” the “large corduroy apron” with “large pockets,” and the “heavy leather gloves” covering her hands, hide the real Elisa (390). The very length of the third sentence illustrates the weight and shapelessness of the dress that hides it. Along with the “man's black hat,” the clothing emasculates her, Elisa's sexuality is almost completely “blocked” or restrained (390). The chrysanthemum seeds and gardening tools: “trowel,” “scratcher,” and “knife,” indicating fertility and perhaps sexuality, remain buried deep in the pockets of Elisa’s apron (390). Although her youth has passed, at thirty-five Elisa has plenty of time to live. In contrast to the fog that blinds the area, his eyes “clear as water” (390) display not only impressive vision and probablewisdom, but also the ability and desire to see beyond the immediate. It clearly has a lot to offer. Not just attractive, she has maturity and spirit. However, Steinbeck deduces that Elisa's energy can barely be contained within her limited lifestyle. As she cuts down the old man with the chrysanthemum stems she appears "too eager, too powerful" as if the thick stems seemed "too small and easy for her energy" (390). Likewise, his “little house” looked “thoroughly swept,” the windows “thoroughly polished” (390). His enthusiasm and skills make his efforts too extreme for the tasks at hand; therefore, the stems and house appear smaller than likely. Like the chrysanthemums she tends, Elisa has the potential to bloom widely if only the limitations placed on her would disappear. The two male characters in the text represent the society that places limitations and constraints on Elisa and other women. Henry Allen and the visiting tinker, at separate times, each converse with her on the other side of the wire fence. The fact that she remains in the enclosure of her garden implies that Elisa cannot be part of the world of men. Likewise, men, unable to appreciate his needs and talents, remain without. At the beginning of the story, Elisa simply watches from afar, while her husband does business with two other men. Steinbeck writes that she “looked across the yard and saw Henry, her husband, talking to two men in suits” (389). The distance between her and the men, underlined by the words “over there”, confirms that as a woman she must be excluded from meaningful discussions even if she seems more intelligent than her husband or the tinker for that matter. The misspelled words “scissors” (391) and lawn “mores” (391), as well as the paint dripping on the tinker's cart, seem sloppy compared to Elisa's efficient industry in the house and garden. Despite his limitations, his lack of intelligence and perception, the tinker has the freedom to be and do what he wants. He “[goes] from Seattle to San Diego and back every year. He takes all [his] time. About six months each way. [He] [aims] to follow the good weather” (392). Short sentences give the impression of having time to waste. Traveling to San Diego, he tracks the sun, warm weather and possible prospects. However, Elisa Allen remains in the winter fog. Steinbeck implies that man has opportunity, woman none. When the tinker assumes, “It's not the right kind of life for a woman,” Steinbeck writes, “her upper lip lifted slightly, showing her teeth. 'How do you know? How can you say that?'” (394). The fact of baring the teeth alludes to both aggression and defense. Later, as she watched the tinker leave, Elisa whispered, “That's a brilliant direction. There is a glow there” (395) because he senses the possibility of a more fulfilling life. His whisper suggests awe but also guilt as he "looked around to see if anyone was listening" (395). Through Elisa, Steinbeck questions the necessity of the limits that society places on women. Within the limits of a male-dominated society come the further confines of marriage. Aware of her responsibilities, Elisa keeps the house clean and takes care of her husband's needs. When Henry returned from work, “Elisa [had] laid his dark suit on the bed, and behind it his shirt, socks, and tie” (395). The use of the comma, together with the repetition of “and” lengthens the sentence. In her efficiency, she meets Henry's every need, but the task seems exhausting. In turn, Henry cares for his wife: he compliments her gardening skills and offers to take her out to celebrate his affair. Yet, although their conversation seems pleasant, it lacks spontaneity and familiarity. Elisahe comments “good” (390) on Henry's deal and again on the proposal of a night out. The repetition of his bland response: “Well… Oh, yes. It will be fine” (390), suggests a lack of real interest. Likewise, Henry must “put on his joking tone” (391). The fact that he has to “wear” a relaxed tone indicates an unnatural strength and rigidity between them. In contrast, Elisa and the tinker converse easily and with humor. Steinbeck writes, “The man caught her laughter and echoed it heartily” (391). The word “echoed” captures the naturalness of their chatter. Sensing the easy familiarity they share, Elisa's repressed sexuality begins to emerge. Although Elisa does not seem to notice her husband's appearance, her quick assessment of the tinker's worker reveals interest. His interest intensifies as he observes her chrysanthemums and, by extension, her. In Elisa's haste and excitement to gather little shoots for the tinker to take, she temporarily forgets the narrowness of her life and “[rips] off [her] battered hat and [shakes] her beautiful dark hair” ( 393). The verb “tear” indicates not only passion but also the desire to simply be herself. By taking the man's hat off, he lets his femininity emerge. When the tinker lets himself be taught and guided by Elisa's gardening experience, his newfound freedom acts like an aphrodisiac. Steinbeck writes how “her breasts swelled passionately” (394) and her “voice became hoarse” (394), releasing her previously confined sexuality. When the tinker has left, Elisa enters the house to take a bath. The description of her rubbing her "legs and thighs, loins, chest and arms, until her skin was scratched and red" (395) reveals her completeness and determination to simply be herself. When she looks at her naked body, Elisa finally experiences complete freedom, without restrictions and limitations. Society requires that Elisa's freedom from restrictions be short-lived. The change in Elisa's appearance creates tension between husband and wife. When Henry leaves the bathroom, Elisa “stiffened and her face tensed” (396). She feels a combination of apprehension and hope, wanting to elicit a romantic or sexual response from her husband. Although he sees a positive change in his wife's comment, "You look different, strong, and happy" (396), he seems confused and uncomfortable with her transformation. Steinbeck describes how Henry “made a blunder” and seemed “bewildered” (396). His limitations make it difficult for him to accept her as anything other than a dutiful wife or perhaps understand her need for something more. Recognizing defeat, Elisa puts her hat back on before leaving the house to join her husband. The firm action of “[pulling] it here and [pressing] it there” captures his resignation as his true self once again disappears. When Elisa sees the chrysanthemum buds abandoned on the side of the road, her rejection seems total. The final scene between the couple creates pathos. Henry's eagerness to please his wife with the offer of more frequent outings and wine with dinner simply falls short. In turn, Elisa rejects her instinctive desire to witness a fight with all the passion and excitement implied, the fighting gloves “heavy and soaked in blood” (396). Elisa convinces herself: “Oh no. No, I don't want to go. I'm sure not” (397). Clearly it does. Once his regression is complete, he turns up the collar of his coat to hide his emotion. His strength gives way to weakness, and when limitations return, his sense of identity fades. Please note: this is just an example. Get a custom paper from our expert writers now. Get a Custom Essay In “The?