explanatory essay on the chrysanthemums

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“The Chrysanthemums” by John Steinbeck: Analysis

Introduction: “The Chrysanthemums” by John Steinbeck

Table of Contents

“The Chrysanthemums” by John Steinbeck, published in 1937 in a collection titled The Long Valley was initially well-received by critics and readers alike, and has since become one of Steinbeck’s most popular works. It has also won places in literature textbooks and taught in high school and college classrooms. In fact, Steinbeck’s masterful use of descriptive language and his ability to capture the inner thoughts and emotions of his characters have made “The Chrysanthemums” a classic example of American literary realism. The story explores themes of gender roles, societal expectations, and the human need for connection and fulfillment, and continues to resonate with readers today for its universal and timeless insights into the human experience.

Main Events in “The Chrysanthemums” by John Steinbeck

Elisa Allen tends to her chrysanthemums on her isolated ranch in the Salinas Valley.
A tinker visits the ranch, seeking work and repair jobs.
Elisa is initially hesitant to engage with the tinker, but eventually becomes intrigued by his lifestyle and stories of travel.
The tinker offers to take some of Elisa’s chrysanthemums to a woman he met on his travels who is looking for cuttings to plant.
Elisa becomes excited at the prospect of her flowers being appreciated and gives the tinker some pots of chrysanthemum shoots.
Later, while Elisa is getting ready for a night out with her husband, she sees the tinker throwing the chrysanthemum shoots on the road, realizing that he had no intention of giving them to the woman he mentioned earlier.
Elisa becomes disillusioned and saddened by the tinker’s deception, feeling a sense of emptiness and unfulfillment in her life.
On the drive to town, Elisa sees a team of men working in a field and becomes fascinated by their physical strength and camaraderie.
Elisa realizes that she yearns for a life beyond her isolated ranch and her domestic duties, but feels trapped by societal expectations and gender roles.
The story ends with Elisa crying silently in the car, feeling a sense of defeat and hopelessness about her future.

Literary Devices in “The Chrysanthemums” by John Steinbeck

Allusion : A reference to a well-known person, event, or literary work. Example: If the story includes a “Henry” ranch, this potentially alludes to author Henry James, suggesting thematic links worth exploring.
Antagonist : A character or force in conflict with the protagonist. Example: The tinker functions as the antagonist, his deceptive actions and disinterest in Elisa’s world undermining her brief flourishing of confidence.
Characterization : The process by which an author reveals a character’s personality. Example: Steinbeck employs dialogue, actions, and evocative descriptions to portray Elisa’s complexity, hinting at her inner strength and frustration.
Conflict : A central struggle driving the narrative; it can be external or internal. Example: The primary conflict is internal. Elisa grapples with her yearning for self-expression against the restrictive gender roles of her time.
Denouement : The narrative’s resolution. Example: The denouement is marked by disillusionment, Elisa’s newfound assertiveness crushed, leaving her isolated and questioning her future.
Foreshadowing : Hints or clues suggesting future plot developments. Example: The tinker’s suspiciously new cart covering foreshadows his dishonesty, subtly building tension.
Imagery : Vivid language appealing to the senses to create atmosphere and meaning. Example: “The high grey-flannel fog of winter…” establishes a somber tone and mirrors Elisa’s emotional confinement.
Irony : Contradiction between literal meaning and intended meaning. Example: Elisa’s hopeful comment about her flowers growing “as big as a baby” takes on ironic poignancy given her childlessness and unfulfilled domestic life.
Metaphor : An implicit comparison between unlike things. Example: The “gray-flannel fog” metaphorically suggests Elisa’s isolation and lack of opportunity for growth.
Point of View : The narrative perspective. Example: “The Chrysanthemums” uses third-person limited perspective, focusing on Elisa’s experience and allowing insight into her internal struggles.
Setting : The time and place of a story, influencing mood and thematic development. Example: The Salinas Valley setting reflects Elisa’s emotional and physical constraints while also featuring vibrant chrysanthemums, symbolizing her untapped potential.
Simile : An explicit comparison using “like” or “as”. Example: The “hard-swept looking little house” simile highlights the bleakness of Elisa’s domestic life.
Symbolism : Objects or images representing abstract ideas. Example: The chrysanthemums symbolize Elisa’s feminine energy, desire for recognition, and ultimately, the wasted potential of her life.
Theme : A central idea or message. Example: Steinbeck explores themes of gender roles, societal limitations, and the human yearning for connection and fulfillment.
Tone : The author’s attitude towards the subject, influencing the reader’s emotional response. Example: The tone shifts from Elisa’s early optimism to bleakness as her attempts at self-expression are thwarted.

Characterization in “The Chrysanthemums” by John Steinbeck

Elisa allen.

Steinbeck reveals Elisa’s complex character through a blend of direct description, actions, and symbolic imagery:

Contradictory Strength: Initially described with masculine characteristics: “strong…blocked and heavy” with a “lean and strong” face. Her clothing is androgynous – a man’s black hat and “overalls and a thick… sweater.” These details suggest a suppressed, powerful force at odds with the traditional femininity expected of her.
Passion Misdirected: Her passion and vitality find an outlet only in her chrysanthemums. She speaks to them with “tenderness” and nurtures them with a skill her husband fails to appreciate: ” …her work with her hands… was over and done…Her fingers touched the plants with a loving attention.” This care becomes symbolic of her unfulfilled emotional needs.
Brief Awakening: The tinker’s interest sparks a change. Elisa’s physical transformation – bathing, changing into a “flower-printed dress,” her face “bright and alive” – reflects a newfound sense of possibility. Her assertive questioning of his life challenges the boundaries she’s accepted.
Crushing Disillusionment: The discarded chrysanthemum sprouts symbolize the crushing of her hope. Her final actions – crying “weakly, like an old woman” – underscore her defeat and return to the expected feminine role. Steinbeck shows how societal constraints stifle her potential and individuality.

Henry Allen

Elisa’s husband, Henry, serves as a foil highlighting her emotional isolation:

Oblivious and Kind: He’s well-meaning but fails to perceive Elisa’s deeper needs. His praise of her flowers is practical, focused on their potential sale value, while missing the emotional investment they represent.
Comfortable Complacency: His banter about selling steers and going into town with the men reinforces the gender divide. He embodies a life of routine and modest success that leaves Elisa restless and unfulfilled.

A minor yet pivotal figure, the tinker functions as both catalyst and destroyer:

Manipulative Outsider: His appearance disrupts Elisa’s confined world. He feigns interest in her chrysanthemums, drawing her out and giving her a temporary sense of validation. His focus on material gain contrasts with Elisa’s emotional investment.
Symbol of False Hope: His discarding the sprouts highlights his callous disregard and symbolizes the shattering of Elisa’s illusions. Steinbeck suggests that those outside her conventional life ultimately offer no genuine opportunity for connection or escape.

Significance of Characterization

Core Theme: Through Elisa, Steinbeck explores the destructive impact of societal limitations on women’s potential and self-expression.
Nuance: Elisa isn’t simply a victim. Her initial strength hints at what she could be, making the ending feel tragic rather than simply pitiful.
Symbolism: The chrysanthemums themselves become part of her characterization, mirroring her initial vibrancy and ultimate discarding.

Major Themes in “The Chrysanthemums” by John Steinbeck

The limitations of gender roles: The story explores the limitations placed on women in early 20th century America, particularly in rural areas. Elisa’s desire for self-expression is stifled by the expectations of her role as a wife and homemaker. Evidence of this theme is seen when Elisa is described as being trapped on the ranch, “blocked and defeated.” She longs for adventure and meaningful work but is unable to pursue these desires due to her gender.
The struggle for identity and self-worth: The story also addresses the universal human struggle for identity and self-worth. Elisa’s chrysanthemums, which represent her passion and creativity, are a source of pride and self-worth for her. When the tinker dismisses her flowers as mere “pots,” it is a blow to her self-esteem. This theme is illustrated when Elisa becomes emotional and defensive when the tinker fails to recognize the true value of her flowers.
The power of communication: Communication plays a pivotal role in the story, as Elisa’s brief encounter with the tinker is the catalyst for her emotional journey. The tinker’s flattery and compliments spark a sense of hope and possibility in Elisa, but his deception and lack of understanding ultimately leave her feeling even more trapped and unfulfilled. This theme is exemplified by the conversations between Elisa and the tinker, which are filled with hidden meanings and unspoken desires.
The natural world as a symbol for human emotions: Steinbeck often uses natural imagery to convey human emotions in the story. For example, the chrysanthemums are a symbol for Elisa’s passion and creativity, while the Salinas Valley represents the isolation and loneliness she feels. This theme is shown through Steinbeck’s vivid descriptions of the landscape and the natural world, which serve as a backdrop to the emotional struggles of the characters.

Writing Style in “The Chrysanthemums” by John Steinbeck

Vivid Descriptive Language: Steinbeck paints a tangible picture of the Salinas Valley setting and Elisa’s world.

Example: “The high grey-flannel fog of winter closed off the Salinas Valley from the sky and all the rest of the world.”

Third-Person Limited Point of View: Focuses primarily on Elisa’s thoughts and experiences, creating intimacy, but also allows for critical distance.

Example: Descriptions of her actions and the physical transformation she undergoes as she engages with the tinker.

Imagery: Steinbeck uses sensory details to evoke mood and atmosphere.

Example: The contrast between the “grey-flannel fog” and the vibrant, potent chrysanthemums mirrors Elisa’s internal state.

Symbolism: Objects carry deeper significance, representing abstract ideas.

Example: The chrysanthemums embody Elisa’s femininity, strength, and unfulfilled potential.

Foreshadowing: Subtle hints foreshadow events, creating tension and thematic resonance.

Example: The new covering on the tinker’s cart suggests deception, foreshadowing his role in Elisa’s disappointment.

Evocative Prose: Steinbeck’s simple but powerful language creates a sense of connection between reader and character.

Example: Short, direct sentences mimic Elisa’s initial strength, while the longer, flowing ones during her transformation convey sensuality.

Dialogue as Revelation: Conversations highlight character motivations and unspoken desires.

Example: Elisa’s assertive questioning of the tinker reveals a yearning for wider experiences.

Literary Theories and Interpretation of “The Chrysanthemums” by John Steinbeck

Feminist Theory : The story can be interpreted through a feminist lens as a commentary on the limitations placed on women in early 20th century America. Elisa’s desire for self-expression and meaningful work is stifled by the expectations of her gender, which is exemplified by her frustration and disappointment when the tinker fails to understand the true value of her chrysanthemums.
Psychoanalytic Theory : A psychoanalytic interpretation of the story can reveal underlying psychological motives and conflicts. For example, Elisa’s obsession with her chrysanthemums and her emotional outburst when the tinker dismisses them can be seen as a manifestation of repressed desires and emotions.
Marxist Theory : The story can also be interpreted through a Marxist lens as a critique of capitalism and the exploitation of labor. The tinker’s itinerant lifestyle and lack of meaningful work highlight the precariousness of the working class, while Elisa’s frustration and isolation reveal the alienation and oppression that can result from a capitalist society.
Reader-Response Theory : A reader-response interpretation of the story focuses on the reader’s subjective experience of the text. The story’s open-ended conclusion invites readers to interpret the meaning of Elisa’s emotional journey and the significance of her encounter with the tinker in their own way.
Symbolic Interactionism: The story can be interpreted through the lens of symbolic interactionism, which emphasizes the importance of communication and the ways in which individuals create meaning through their interactions with others. The conversations between Elisa and the tinker are filled with hidden meanings and unspoken desires, highlighting the power of communication and the complexity of human relationships.

Topics, Questions and Thesis Statements about “The Chrysanthemums” by John Steinbeck


Gender Roles & Societal Expectations	How do traditional gender roles shape Elisa’s life and sense of self? To what extent does Steinbeck critique the limitations placed on women in the story’s time period?	In “The Chrysanthemums,” John Steinbeck critiques the confining nature of traditional gender roles, illustrating how they inhibit Elisa’s self-expression and lead to personal dissatisfaction.
Symbolism	What is the significance of the chrysanthemums? How do other objects or images function symbolically within the story?	The chrysanthemums in “The Chrysanthemums” are multi-layered symbols, representing Elisa’s vitality, her longing for connection, and ultimately, the stifling of her potential.
Isolation and Desire for Connection	How does Steinbeck portray Elisa’s isolation? What does her brief interaction with the tinker reveal about her yearning for connection and a life beyond her domestic role?	John Steinbeck’s “The Chrysanthemums” explores the destructive effects of isolation and the human need for genuine connection, highlighting how societal expectations can thwart individual fulfillment.
Power Dynamics	How does the power dynamic shift between Elisa and the tinker? What other instances of power (or lack thereof) are seen in the story?	In “The Chrysanthemums,” Steinbeck uses the encounter between Elisa and the tinker to expose power imbalances based on gender and social roles, ultimately revealing the fragility of female assertiveness within a limiting society.
Unfulfilled Potential	Where does the story suggest Elisa’s potential for a more fulfilling life? To what extent does Steinbeck leave room for optimism, or is the ending entirely bleak?	“The Chrysanthemums” provides a poignant portrayal of unfulfilled potential, with Steinbeck subtly suggesting Elisa’s inherent strength while ultimately leaving ambiguous the possibility of her breaking free from her constraints.

Short Question-Answer “The Chrysanthemums” by John Steinbeck

How does the setting of “The Chrysanthemums” contribute to the story’s overall mood and themes?

The setting of “The Chrysanthemums,” particularly the garden and the surrounding countryside, plays a crucial role in creating the story’s overall mood and themes. Through his vivid and detailed descriptions of the natural world, Steinbeck establishes a sense of emotional depth and richness, and underscores the themes of isolation, frustration, and unfulfilled desire that run throughout the story. The garden, in particular, serves as a metaphor for Elisa’s inner life and her struggle for self-expression, while the surrounding landscape represents the larger forces of society and history that limit her options and constrain her identity.

What is the significance of the chrysanthemums in the story, and how do they function as a symbol?

The chrysanthemums in “The Chrysanthemums” serve as a powerful symbol of Elisa’s innermost desires and frustrations. Through her careful cultivation of the flowers, and her attachment to their beauty and vitality, Elisa expresses her own longing for meaning and purpose in her life, as well as her deep sense of isolation and lack of fulfillment. At the same time, the chrysanthemums also serve as a reminder of the limitations and constraints that prevent Elisa from achieving her goals, and of the ways in which society and gender roles have circumscribed her identity and potential.

What is the significance of the tinker in “The Chrysanthemums,” and how does he function as a character in the story?

The tinker in “The Chrysanthemums” serves as a catalyst for Elisa’s emotional journey, and as a symbol of the larger forces of society and history that limit her options and constrain her identity. Through his itinerant lifestyle and his roguish charm, the tinker represents a kind of freedom and adventure that Elisa yearns for, but that she is ultimately unable to attain. At the same time, however, the tinker also represents a threat to Elisa’s sense of self and her desire for meaning and purpose, and his presence in the story underscores the central conflict between individual desire and social constraint.

What is the significance of Elisa’s clothing in “The Chrysanthemums,” and how does it reflect her inner life and emotional journey?

Elisa’s clothing in “The Chrysanthemums” serves as a powerful symbol of her inner life and emotional journey, and reflects her changing attitudes and desires throughout the story. At the beginning of the story, Elisa is dressed in practical and utilitarian clothing, which underscores her role as a hardworking and capable farm wife. As the story progresses, however, Elisa’s clothing becomes increasingly symbolic and expressive, reflecting her growing frustration and desire for self-expression. When she dresses in her “nice” clothes to meet the tinker, for example, she is symbolically dressing up her inner self and expressing her desire for connection and fulfillment. Similarly, when she strips off her clothes at the end of the story, she is shedding the social constraints and limitations that have held her back, and embracing a more authentic and liberated version of herself.

Literary Works Similar to “The Chrysanthemums” by John Steinbeck


William Faulkner	A reclusive Southern woman’s hidden past challenges societal norms, exploring the consequences of repression and isolation.	* Shares themes of societal expectations, the potential distortion of individual lives due to isolation, and the use of symbolism to convey complex internal experiences.
Charlotte Perkins Gilman	A woman’s confinement for mental health descends into madness, exposing the destructive effects of silencing the female voice and suppressing autonomy.	* Explores the suppression of female self-expression, confinement within societal expectations, and the psychological toll of societal restrictions.
Kate Chopin	A married woman’s sexual and emotional awakening leads her to challenge societal norms and seek personal freedom.	* Examines the female struggle for self-determination within the confines of traditional gender roles.
Edith Wharton	A man endures a bleak existence in a loveless marriage, his unfulfilled dreams symbolizing the crushing force of societal and situational constraints.	* Focuses on themes of isolation, unrealized potential, and how societal limitations can restrict and distort individual desires.
John Steinbeck	Two migrant workers grapple with loneliness and longing, their shared dream poignantly illustrating the unattainable nature of some aspirations.	* Shares Steinbeck’s recurring themes of isolation and the human yearning for connection, often set within rural environments where dreams clash with harsh realities.

The Chrysanthemums | Summary, Analysis, Theme, Symbols, Motif

The Chrysanthemums by John Steinbeck

Table of Contents

One of John Steinbeck ‘s most accomplished short stories, The Chrysanthemums is about an intelligent, creative woman coerced into a stifling existence on her husband’s ranch. The story appeared in Harper’s Magazine in 1937; a revised version, which contained less sexual imagery, was published in the 1938 collection The Long Valley . Many critics believe the story reflected Steinbeck’s own sense of frustration, rejection, and loneliness at the time the story was written. Some scholars also have speculated that the female protagonist of The Chrysanthemums , Elisa Allen, was inspired by Steinbeck’s first wife, Carol Henning.

The Chrysanthemums Characters

This is a story with only three characters and the main character is Elisa Allen . She is a 35 year old strong woman. She is attractive and she has a lot of interest in gardening and in housekeeping. Her husband is Henry Allen is also fond of gardening and also in trading cattle. We have a third character. The name of the character is not mentioned but his profession is a tinker that is a person who mends the broken pots and sharpens the scissors.

The Chrysanthemums Story in Brief

Elisa Allen, the heroine of the story takes pride in her independent production of ten-inches long Chrysanthemum plant . Her work is appreciated by her husband. There is an appearance of a big stubble-headed wagon-man who makes fun with Elisa, he mends pots, sharpens instruments like knives and scissors, with fixed price. Elisa has nothing to give him, which disheartens him, as he has earned nothing for his supper.

The man’s notice falls on the Chrysanthemums that Elisa has grown and asks for some seeds. Elisa is elated. Elisa gave some little sprouts of plants instead of seeds to be planted. Eagerly, she digs up the sandy soil with her finger to plant the sprouting plants for fast growth. Some broken saucepans are given by her for repairing. He is satisfied to get fifty cent as price for the same. Elisa gives him direction about the road to his destiny, without knowing that she is duped by him. Washing herself in the bathroom, she puts on neat dress, looking admirable. Henry, her husband, admires her beauty. Elisa boasts of her self-confidence.

Together they drive to Salinas for dinner and entertainment on the road. She feels depressed observing the thrown elements of sand of the shoots, but hides her depression by referring to exciting fights and intoxicating wine. Henry is surprised to her sudden metamorphosis. Steinbeck narrates her sudden change as she has been duped by the wagon-man. She feels defeated as her cherished chrysanthemums are not cared according to her great expectations.

The Chrysanthemums Gist

“ The Chrysanthemums ” opens at the Allen ranch, which is located in the foothills of the Salinas Valley. Elisa works in her garden, cutting down old chrysanthemum stalks, while her husband Henry discusses business with two men across the yard. After the men leave, Henry leans over the fence where Elisa is working and comments on her gardening talents. Elisa admits to her “gift,” noting her mother also had “planters’ hands.” Henry then suggests that they dine out that evening. After Elisa agrees, Henry teasingly proposes that they go to the fights that night as well.

Once Henry departs, a battered covered wagon driven by a tinker pulls up to the house. The tinker asks Elisa if she has any pots to mend. She declines several times, but once the tinker notices and compliments Elisa’s chrysanthemums , her mood changes from slight irritation to exuberance. The tinker tells Elisa about a woman on his route who would like chrysanthemum seeds, and Elisa happily places several sprouts in a red pot for him. She then finds two saucepans for the tinker to repair before he leaves. Elisa rushes into the house, where she bathes, studies her naked body in the mirror, and dresses for the evening.

As the couple leaves for dinner in their roadster, Elisa notices the chrysanthemum sprouts she had given the tinker lying in the road and asks her husband if they could have wine with dinner. A few minutes pass before she wonders aloud whether the boxers at the prize fights hurt each other very much and whether women ever attend. Henry asks Elisa if she would like to go to the fights, but she answers no, that “it will be enough if we can have wine.” She then begins to cry, though unnoticed by Henry .

The Chrysanthemums Themes

The primary theme in “ The Chrysanthemums ,” one that appears throughout Steinbeck’s canon, is Elisa’s creative frustration. Some critics have viewed Elisa as a feminist figure, while others-arguing that Elisa both emasculates her husband and engages in an infidelity with the tinker-have argued that the story is an attack against feminism.

The Chrysanthemums Critical Reception

The Chrysanthemums has garnered critical acclaim since publication. André Gide, who particularly admired the story, compared it to the best of Anton Chekhov. Other critics have detected the influence of D. H. Lawrence in “ The Chrysanthemums .” John Ditsky called the story “one of the finest American stories ever written.” John H. Timmerman regarded the story as one of Steinbeck’s masterpieces, adding that “stylistically and thematically, ‘ The Chrysanthemums ‘ is a superb piece of compelling craftsmanship.” According to Mordecai Marcus “the story seems almost perfect in form and style. Its compelling rhythm underlines its suggestiveness, and nothing in the story is false or out of place.” While some critics have praised Steinbeck’s objectivity in the narrative, Kenneth Payson Kempton found the story “arbitrary, self-impelled, and fuzzy work… its effect annoyingly arty, muddy, and unreal.” Most critics concede that it is Elisa Allen who makes “ The Chrysanthemums ” a memorable short story . Even so, R. S. Hughes argued that while the facets of “Elisa’s personality, are no doubt responsible for much of the story’s appeal, ultimately Steinbeck’s well-crafted plot and his skillful use of symbol make the story.”

The Chrysanthemums Plot

It is winter in Salinas Valley, California. The sun is not shining and fog covers the valley. On Henry Allen’s foothill ranch, the hay cutting and storing has been finished, and the orchards are waiting for rain. Elisa Allen, Henry’s wife, is working in her flower garden and sees her husband speaking with two cigarette-smoking strangers. Elisa, thirty-five years old, attractive and clear-eyed, although at the moment she is clad in a masculine gardening outfit with men’s shoes and a man’s hat. Her apron covers her dress, and gloves cover her hands. As she works away at her chrysanthemums, she steals occasional glances at the strange men. Her house, which stands nearby, is very clean.

The strangers get into their Ford coupe and leave. Elisa looks down at the stems of her flowers, which she has kept entirely free of pests. Henry appears and praises her work. Elisa seems pleased and proud. Henry says he wishes she would turn her talents to the orchard. She responds eagerly to this suggestion, but it seems he was only joking. When she asks, he tells her that the men were from the Western Meat Company and bought thirty of his steers for a good price. He suggests they go to the town of Salinas for dinner and a movie to celebrate. He teases her, asking whether she’d like to see the fights, and she says she wouldn’t.

A Critical Essay on American Short Story and American Short Story

Henry leaves, and Elisa turns her attention back to her chrysanthemums. A wagon with a canvas top driven by a large bearded man appears on the road in the distance. A misspelled sign advertises the man’s services as a tinker who repairs pots and pans. The wagon turns into Elisa’s yard. Her dogs and the man’s dog sniff each other, and the tinker makes a joke about the ferocity of his animal. When he gets out of the wagon, Elisa sees that he is big and not very old. He wears a ragged, dirty suit, and his hands are rough.

They continue to make small talk, and Elisa is charmed when the tinker says he simply follows good weather. He asks whether she has any work for him, and when she repeatedly says no, he whines, saying he hasn’t had any business and is hungry. Then he asks about Elisa’s chrysanthemums, and her annoyance vanishes. They discuss the flowers, and the tinker says that he has a customer who wants to raise chrysanthemums. Excited, Elisa says he can take her some shoots in a pot filled with damp sand. She takes off her hat and gloves and fills a red pot with soil and the shoots.

Elisa gives the tinker instructions to pass along to the woman. She explains that the most care is needed when the budding begins. She claims to have planting hands and can feel the flowers as if she’s one with them. She speaks from a kneeling position, growing impassioned. The tinker says he might know what she means, and Elisa interrupts him to talk about the stars, which at night are “driven into your body” and are “hot and sharp and lovely.” She reaches out to touch his pant leg, but stops before she does. He says such things are not as nice if you haven’t eaten. Sobered, Elisa finds two pans for him to fix.

As the tinker works, she asks him if he sleeps in the wagon. She says she wishes women could live the kind of life he does. He says it wouldn’t be suitable, and she asks how he knows. After paying him fifty cents, she says that she can do the same work he does. He says his life would be lonesome and frightening for a woman. Before he leaves, she reminds him to keep the sand around the chrysanthemums damp. For a moment, he seems to forget that she gave him the flowers. Elisa watches the wagon trundle away, whispering to herself.

She goes in to the house and bathes, scrubbing her skin with pumice until it hurts. Then she examines her naked body in the mirror, pulling in her stomach and pushing out her chest, then observing her back. She dresses in new underwear and a dress and does her hair and makeup. Henry comes home and takes a bath. Elisa sets out his clothes and then goes to sit on the porch. When Henry emerges, he says that she looks nice, sounding surprised. She asks him what he means, and he says she looks “different, strong and happy.” She asks what he means by strong. Confused, he says that she’s playing a game and then explains that she looks like she could break a calf and eat it. Elisa loses her composure for a moment and then agrees with him.

As they drive along the road toward Salinas, Elisa sees a dark spot up ahead and can’t stop herself from looking at it, sure that it’s a pile of discarded chrysanthemum shoots that the tinker has thrown away. Elisa thinks that he could have at least disposed of them off the road, and then realizes he had to keep the pot. They pass the tinker’s wagon, and Elisa doesn’t look. She says she is looking forward to dinner.

Henry says she is different again, but then says kindly that he should take her out more often. She asks whether they can have wine at dinner, and he says yes. Elisa says she has read that at the fights the men beat each other until their boxing gloves are soaked with blood. She asks whether women go to the fights, and Henry says that some do and that he’ll take her to one if she’d like to go. She declines and pulls her coat collar over her face so that Henry can’t see her crying.

The Chrysanthemums summary

The story opens with a panoramic view of the Salinas Valley in winter, shrouded in fog. The focus narrows and finally settles on Elisa Allen, cutting down the spent stalks of Chrysanthemums in the garden on her husband’s ranch. Elisa is thirty-five, lean and strong, and she approaches her gardening with great energy. Her husband Henry comes from across the yard, where he has been arranging the sale of thirty steer, and offers to take Elisa to town for dinner and movie to celebrate the sale. He praises her skill with flowers, and she congratulates him on doing well in the negotiations for the steer. They seem a well-matched couple, though their way of talking together is formal and serious, Henry heads off to finish some chores, and Elisa decides to finish her transplanting before they get ready to leave for town.

Soon Elisa hears “a squeak of wheels and a plod of hoofs, and a man drives up in an old wagon. (He is never named; the narrator calls him simply the man.”) The man is large and dirty, and clearly used .to being alone. He earns a meager living fixing pots and sharpening scissors and knives, traveling from San Diego, California, to Seattle Washington, and back every year. The man chats and jokes with Elisa who answers his bantering tone but has no work for him to do. When he presses for a small job, she becomes annoyed and tries to send him away.

Suddenly the man’s attention turns to the flowers that Elisa is tending. When he asks about them, Elisa’s annoyance vanishes, and she becomes friendly again. The man remembers seeing chrysanthemums before, and describes them: “Kind of a long-stemmed flower? Looks like a quick puff of colored smoke?” Elisa is delighted with his description. The man tells her about one of his regular customers who also gardens, and who always has work for him when he comes by. She has asked him to keep his eyes open in his travels, and to bring her some chrysanthemum seeds if he ever finds some. Now Elisa is captivated. She invites the man into the yard, prepares a pot of chrysanthemum cuttings for the woman’s garden, and gives him full instructions for tending them. Clearly, Elisa envies the man’s life on the road and is attracted to him because he understands her love of flowers. In a moment of extreme emotion she nearly reaches for him, but snatches her hand back before she touches him. Instead, she finds him two pots to mend, and he drives away with fifty cents and the cuttings, promising to take care of the plants until he can deliver them to the other woman.

Elisa goes into the house to get dressed for dinner. She scrubs herself vigorously and examines her naked body in the mirror before putting on her dress and makeup. When Henry finds her, he compliments her, telling her she looks “different, strong and happy.” “I’m strong,” she boasts, “I never knew before how strong.” As Henry and Elisa drive into town, she sees a dark speck ahead on the road. It turns out to be the cuttings the man has tossed out of his wagon. She does not mention them to Henry, who has not seen them, and she turns her head so he cannot see her crying.

The Chrysanthemums Analysis

“ The Chrysanthemums ” is a short story by American writer John Steinbeck , part of his collection The Long Valley .

The Chrysanthemums is narrated in a restrained, almost removed way that can make interpreting the story difficult. While the narrator gives us clues as to how to understand the various events that occur, he rarely identifies a single correct interpretation. For example, when Henry compliments Elisa’s strength, her moody reaction may be understood in several ways; perhaps she is wishing Henry had the tinker’s cleverness; perhaps she longs for him to call her beautiful or perhaps it is some combination of feelings. All these readings are equally plausible, and the narrator never points to any single reading as the correct one. Elisa’s reaction to Henry’s compliment is one example of many, and throughout the story the narrator holds himself removed from small moments and important incidents alike, inviting us to do the interpretive work.

Although the narrator’s refusal to provide one interpretation may make reading more difficult for us, it is also a useful way of capturing the multifaceted, rich emotions Elisa feels. Steinbeck doesn’t mean to puzzle or frustrate his readers by obscuring Elisa’s inner sentiments. Rather, he wants to suggest that no single interpretation can exist because people feel a mix of emotions at any single moment. If it is unclear whether, for example, the discarded chrysanthemum shoots make Elisa feel sad, furious, or unloved, that’s likely because she feels all of those things simultaneously. Moreover, the difficulty of interpretation is part of Steinbeck’s point. By forcing us to observe Elisa closely and draw our own conclusions about her behavior, Steinbeck puts us in the position of Henry or any other person in Elisa’s life who tries and fails to understand her fully. Indeed, even Elisa herself seems to have difficulty interpreting her own behavior and has a hard time separating the strands of her own emotions or understanding why she feels the way she does.

The Chrysanthemums Symbols

Symbol of chrysanthemums.

The Chrysanthemums symbolizes both Elisa and the limited scope in her life. Like Elisa the chrysanthemums are lovely, strong and thriving. Their flowerbed like Elisa’s house, is tidy and scrupulously ordered. Elisa explicitly identifies herself with the flowers, even saying that she becomes one with the plants when she tends to them. When the tinker notices the chrysanthemums, Elisa visibly brightens, just as if he had noticed her instead. She offers the chrysanthemums to him at the same time she offers herself, both of which he ignores and tosses aside. His rejections of the flowers also mimics the way society has rejected women as nothing more than mothers and housekeepers. Just like her the flowers are unobjectionable and also unimportant: both are merely decorative and add little value to the world.

Symbol of the Salinas Valley

The Salinas Valley symbolizes Elisa’s emotional life. The story opens with a lengthy description of the valley, which Steinbeck likens to a pot topped with a lid made of fog. The metaphor of the valley as a “closed pot” suggests that Elisa is trapped inside an airless world and that her existence has reached a boiling point. We also learn that although there is sunshine nearby, no light penetrates the valley. Sunshine is often associated with happiness, and the implication is that while people near her are happy, Elisa is not. It is December, and the prevailing atmosphere in the valley is chilly and watchful but not yet devoid of hope. This description of the weather and the general spirits of the inhabitants of the valley applies equally well to Elisa, who is like a fallow field: quiet but not beaten down or unable to grow. What first seems to be a lyrical description of a valley in California is revealed to be a rich symbol of Elisa’s claustrophobic, unhappy, yet Hopeful inner life. As the tinker throws away her chrysanthemum shoots – a symbol of Elisa herself- it supports the idea that the tinker does not share Elisa’s passions at all.

Motif: Clothing

Elisa’s clothing changes as her muted, masculine persona becomes more feminine after the visit from the tinker. When the story begins, Elisa is wearing an androgynous gardening outfit, complete with heavy shoes, thick gloves, a man’s hat, and an apron filled with sharp, phallic implements. The narrator even describes her body as “blocked and heavy.” The masculinity of Elisa’s clothing and shape reflects her asexual existence. After speaking with the tinker, however, Elisa begins to feel intellectually and physically stimulated, a change that is reflected in the removal of her gloves. She also removes her hat, showing her lovely hair. When the tinker leaves, Elisa undergoes an almost ritualistic transformation. She strips, bathes herself, examines her naked body in the mirror, and then dresses. She chooses to don fancy undergarments, a pretty dress, and makeup. These feminine items contrast sharply with her bulky gardening clothes and reflect the newly energized and sexualized Elisa. At the end of the story, after Elisa has seen the castoff shoots, she pulls up her coat collar to hide her tears, a gesture that suggests a move backward into the repressed state in which she has lived most, if not all, of her adult life.

The Chrysanthemums Point of View

Steinbeck displays an extraordinary ability to delve into the complexities of a woman’s consciousness. “ The Chrysanthemums ” is told in the third person, but the narration is presented almost entirely from Elisa’s point of view. After the first few paragraphs that set the scene, Steinbeck shrugs off omniscience and refuses to stray from Elisa’s head. This technique allows him to examine her psyche and show us the world through her eyes. We are put in her shoes and experience her frustrations and feelings. Because she doesn’t know what Henry is discussing with the men in suits who come to the ranch, we don’t know either. Because she sees the tinker as a handsome man, we do too. Because she watches his lips while he fixes her pots, we watch them with her. As a result, we understand more about her longings and character by the end of the story than her husband does.

Steinbeck’s portrayal of Elisa seems even more remarkable considering that he wrote the story in 1938, when traditional notions of women and their abilities persisted in America. Many men unthinkingly accepted the conventional wisdom that working husbands and a decent amount of money were the only things women needed. Considered in this light, Steinbeck’s sympathy and understanding for women are almost shockingly modern. On the face of it, Elisa seems to invite the disapproval of traditional men: she is overtly sexual, impatient with her husband, and dissatisfied with her life. Yet Steinbeck never condemns her and instead portrays the waste of her talent, energy, and ambition as a tragedy. Instead of asking us to judge Elisa harshly, he invites us to understand why she acts the way she does. As a result, his attitude toward her is more characteristic of a modern-day feminist than of a mid-twentieth-century male writer.

The Inequality of Gender

“ The Chrysanthemums ” is an understated but pointed critique of a society that has no place for intelligent women. Elisa is smart , energetic, attractive, and ambitious, but all these attributes go to waste. Although the two key men in the story are less interesting and talented than she, their lives are far more fulfilling and busy. Henry is not as intelligent as Elisa, but it is he who runs the ranch, supports himself and his wife, and makes business deals. All Elisa can do is watching him from afar as he performs his job. Whatever information she gets about the management of the ranch comes indirectly from Henry, who speaks only in vague, condescending terms instead of treating his wife as an equal partner. The tinker seems cleverer than Henry but doesn’t have Elisa’s spirit passion, or thirst for adventure. According to Elisa, he may not even match her skill as a tinker. Nevertheless, it is he who gets to ride about the country, living an adventurous life that he believes is unfit for women. Steinbeck uses Henry and the tinker as stand-ins for the paternalism of patriarchal societies in general: just as they ignore women’s potential, so too does society.

The Importance of Sexual Fulfillment

Steinbeck argues that the need for sexual fulfillment is incredibly powerful and that the pursuit of it can cause people to act in irrational ways. Elisa and Henry have a functional but passionless marriage and seem to treat each other more as siblings or friends than spouses. Elisa is a robust woman associated with fertility and sexuality but has no children, hinting at the non-sexual nature of her relationship with Henry. Despite the fact that her marriage doesn’t meet her needs, Elisa remains a sexual person, a quality that Steinbeck portrays as normal and desirable. As a result of her frustrated desires, Elisa’s attraction to the tinker is frighteningly powerful and uncontrollable. When she speaks to him about looking at the stars at night, for example, her language is forward, nearly pornographic. She kneels before him in a posture of sexual submission, reaching out toward him and looking, as the narrator puts it, “like a fawning dog. ” In essence, she puts herself at the mercy of a complete stranger. The aftermath of Elisa’s powerful attraction is perhaps even.

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“The Chrysanthemums” by John Steinbeck

The Chrysanthemums ~ A Classic American Short Story by John Steinbeck (1902-1968)

The high grey-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. On the broad, level land floor the gang plows bit deep and left the black earth shining like metal where the shares had cut. On the foothill ranches across the Salinas River, the yellow stubble fields seemed to be bathed in pale cold sunshine, but there was no sunshine in the valley now in December. The thick willow scrub along the river flamed with sharp and positive yellow leaves.

It was a time of quiet and of waiting. The air was cold and tender. A light wind blew up from the southwest so that the farmers were mildly hopeful of a good rain before long; but fog and rain did not go together.

Across the river, on Henry Allen’s foothill ranch there was little work to be done, for the hay was cut and stored and the orchards were plowed up to receive the rain deeply when it should come. The cattle on the higher slopes were becoming shaggy and rough-coated.

Elisa Allen, working in her flower garden, looked down across the yard and saw Henry, her husband, talking to two men in business suits. The three of them stood by the tractor shed, each man with one foot on the side of the little Fordson. They smoked cigarettes and studied the machine as they talked.

Elisa watched them for a moment and then went back to her work. She was thirty-five. Her face was lean and strong and her eyes were as clear as water. Her figure looked blocked and heavy in her gardening costume, a man’s black hat pulled low down over her eyes, clod-hopper shoes, a figured print dress almost completely covered by a big corduroy apron with four big pockets to hold the snips, the trowel and scratcher, the seeds and the knife she worked with. She wore heavy leather gloves to protect her hands while she worked.

She was cutting down the old year’s chrysanthemum stalks with a pair of short and powerful scissors. She looked down toward the men by the tractor shed now and then. Her face was eager and mature and handsome; even her work with the scissors was over-eager, over-powerful. The chrysanthemum stems seemed too small and easy for her energy.

She brushed a cloud of hair out of her eyes with the back of her glove, and left a smudge of earth on her cheek in doing it. Behind her stood the neat white farm house with red geraniums close-banked around it as high as the windows. It was a hard-swept looking little house, with hard-polished windows, and a clean mud-mat on the front steps.

Elisa cast another glance toward the tractor shed. The strangers were getting into their Ford coupe. She took off a glove and put her strong fingers down into the forest of new green chrysanthemum sprouts that were growing around the old roots. She spread the leaves and looked down among the close-growing stems. No aphids were there, no sowbugs or snails or cutworms. Her terrier fingers destroyed such pests before they could get started.

Elisa started at the sound of her husband’s voice. He had come near quietly, and he leaned over the wire fence that protected her flower garden from cattle and dogs and chickens.

“At it again,” he said. “You’ve got a strong new crop coming.”

Elisa straightened her back and pulled on the gardening glove again. “Yes. They’ll be strong this coming year.” In her tone and on her face there was a little smugness.

You’ve got a gift with things,” Henry observed. “Some of those yellow chrysanthemums you had this year were ten inches across. I wish you’d work out in the orchard and raise some apples that big.”

Her eyes sharpened. “Maybe I could do it, too. I’ve a gift with things, all right. My mother had it. She could stick anything in the ground and make it grow. She said it was having planters’ hands that knew how to do it.”

“Well, it sure works with flowers,” he said.

“Henry, who were those men you were talking to?”

“Why, sure, that’s what I came to tell you. They were from the Western Meat Company. I sold those thirty head of three-year-old steers. Got nearly my own price, too.”

“Good,” she said. “Good for you.

“And I thought,” he continued, “I thought how it’s Saturday afternoon, and we might go into Salinas for dinner at a restaurant, and then to a picture show—to celebrate, you see.”

“Good,” she repeated. “Oh, yes. That will be good.”

Henry put on his joking tone. “There’s fights tonight. How’d you like to go to the fights?”

“Oh, no,” she said breathlessly. “No, I wouldn’t like fights.”

“Just fooling, Elisa. We’ll go to a movie. Let’s see. It’s two now. I’m going to take Scotty and bring down those steers from the hill. It’ll take us maybe two hours. We’ll go in town about five and have dinner at the Cominos Hotel. Like that?”

“Of course I’ll like it. It’s good to eat away from home.”

“All right, then. I’ll go get up a couple of horses.”

She said, “I’ll have plenty of time to transplant some of these sets, I guess.”

She heard her husband calling Scotty down by the barn. And a little later she saw the two men ride up the pale yellow hillside in search of the steers.

There was a little square sandy bed kept for rooting the chrysanthemums. With her trowel she turned the soil over and over, and smoothed it and patted it firm. Then she dug ten parallel trenches to receive the sets. Back at the chrysanthemum bed she pulled out the little crisp shoots, trimmed off the leaves of each one with her scissors and laid it on a small orderly pile.

A squeak of wheels and plod of hoofs came from the road. Elisa looked up. The country road ran along the dense bank of willows and cotton-woods that bordered the river, and up this road came a curious vehicle, curiously drawn. It was an old spring-wagon, with a round canvas top on it like the cover of a prairie schooner. It was drawn by an old bay horse and a little grey-and-white burro. A big stubble-bearded man sat between the cover flaps and drove the crawling team. Underneath the wagon, between the hind wheels, a lean and rangy mongrel dog walked sedately. Words were painted on the canvas in clumsy, crooked letters. “Pots, pans, knives, sisors, lawn mores, Fixed.” Two rows of articles, and the triumphantly definitive “Fixed” below. The black paint had run down in little sharp points beneath each letter.

Elisa, squatting on the ground, watched to see the crazy, loose-jointed wagon pass by. But it didn’t pass. It turned into the farm road in front of her house, crooked old wheels skirling and squeaking. The rangy dog darted from between the wheels and ran ahead. Instantly the two ranch shepherds flew out at him. Then all three stopped, and with stiff and quivering tails, with taut straight legs, with ambassadorial dignity, they slowly circled, sniffing daintily. The caravan pulled up to Elisa’s wire fence and stopped. Now the newcomer dog, feeling outnumbered, lowered his tail and retired under the wagon with raised hackles and bared teeth.

The man on the wagon seat called out, “That’s a bad dog in a fight when he gets started.”

Elisa laughed. “I see he is. How soon does he generally get started?”

The man caught up her laughter and echoed it heartily. “Sometimes not for weeks and weeks,” he said. He climbed stiffly down, over the wheel. The horse and the donkey drooped like unwatered flowers.

Elisa saw that he was a very big man. Although his hair and beard were graying, he did not look old. His worn black suit was wrinkled and spotted with grease. The laughter had disappeared from his face and eyes the moment his laughing voice ceased. His eyes were dark, and they were full of the brooding that gets in the eyes of teamsters and of sailors. The calloused hands he rested on the wire fence were cracked, and every crack was a black line. He took off his battered hat.

“I’m off my general road, ma’am,” he said. “Does this dirt road cut over across the river to the Los Angeles highway?”

Elisa stood up and shoved the thick scissors in her apron pocket. “Well, yes, it does, but it winds around and then fords the river. I don’t think your team could pull through the sand.”

He replied with some asperity, “It might surprise you what them beasts can pull through.”

“When they get started?” she asked.

He smiled for a second. “Yes. When they get started.”

“Well,” said Elisa, “I think you’ll save time if you go back to the Salinas road and pick up the highway there.”

He drew a big finger down the chicken wire and made it sing. “I ain’t in any hurry, ma am. I go from Seattle to San Diego and back every year. Takes all my time. About six months each way. I aim to follow nice weather.”

Elisa took off her gloves and stuffed them in the apron pocket with the scissors. She touched the under edge of her man’s hat, searching for fugitive hairs. “That sounds like a nice kind of a way to live,” she said.

He leaned confidentially over the fence. “Maybe you noticed the writing on my wagon. I mend pots and sharpen knives and scissors. You got any of them things to do?”

“Oh, no,” she said quickly. “Nothing like that.” Her eyes hardened with resistance.

“Scissors is the worst thing,” he explained. “Most people just ruin scissors trying to sharpen ’em, but I know how. I got a special tool. It’s a little bobbit kind of thing, and patented. But it sure does the trick.”

“No. My scissors are all sharp.”

“All right, then. Take a pot,” he continued earnestly, “a bent pot, or a pot with a hole. I can make it like new so you don’t have to buy no new ones. That’s a saving for you.

“No,” she said shortly. “I tell you I have nothing like that for you to do.”

His face fell to an exaggerated sadness. His voice took on a whining undertone. “I ain’t had a thing to do today. Maybe I won’t have no supper tonight. You see I’m off my regular road. I know folks on the highway clear from Seattle to San Diego. They save their things for me to sharpen up because they know I do it so good and save them money.

“I’m sorry,” Elisa said irritably. “I haven’t anything for you to do.”

His eyes left her face and fell to searching the ground. They roamed about until they came to the chrysanthemum bed where she had been working. “What’s them plants, ma’am?”

The irritation and resistance melted from Elisa’s face. “Oh, those are chrysanthemums, giant whites and yellows. I raise them every year, bigger than anybody around here.”

“Kind of a long-stemmed flower? Looks like a quick puff of colored smoke?” he asked.

“That’s it. What a nice way to describe them.”

“They smell kind of nasty till you get used to them,” he said.

“It’s a good bitter smell,” she retorted, “not nasty at all.”

He changed his tone quickly. “I like the smell myself.”

“I had ten-inch blooms this year,” she said.

The man leaned farther over the fence. “Look. I know a lady down the road a piece, has got the nicest garden you ever seen. Got nearly every kind of flower but no chrysanthemums. Last time I was mending a copper-bottom washtub for her (that’s a hard job but I do it good), she said to me, ‘If you ever run acrost some nice chrysanthemums I wish you’d try to get me a few seeds.’ That’s what she told me.”

Elisa’s eyes grew alert and eager. “She couldn’t have known much about chrysanthemums. You can raise them from seed, but it’s much easier to root the little sprouts you see there.”

“Oh,” he said. “I s’pose I can’t take none to her, then.”

“Why yes you can,” Elisa cried. “I can put some in damp sand, and you can carry them right along with you. They’ll take root in the pot if you keep them damp. And then she can transplant them.”

“She’d sure like to have some, ma’am. You say they’re nice ones?”

“Beautiful,” she said. “Oh, beautiful.” Her eyes shone. She tore off the battered hat and shook out her dark pretty hair. “I’ll put them in a flower pot, and you can take them right with you. Come into the yard.”

While the man came through the picket fence Elisa ran excitedly along the geranium-bordered path to the back of the house. And she returned carrying a big red flower pot. The gloves were forgotten now. She kneeled on the ground by the starting bed and dug up the sandy soil with her fingers and scooped it into the bright new flower pot. Then she picked up the little pile of shoots she had prepared. With her strong fingers she pressed them into the sand and tamped around them with her knuckles. The man stood over her. “I’ll tell you what to do,” she said. “You remember so you can tell the lady.”

“Yes, I’ll try to remember.”

“Well, look. These will take root in about a month. Then she must set them out, about a foot apart in good rich earth like this, see?” She lifted a handful of dark soil for him to look at. “They’ll grow fast and tall. Now remember this. In July tell her to cut them down, about eight inches from the ground.”

“Before they bloom?” he asked.

“Yes, before they bloom.” Her face was tight with eagerness. “They’ll grow right up again. About the last of September the buds will start.”

She stopped and seemed perplexed. “It’s the budding that takes the most care,” she said hesitantlv. “I don’t know how to tell you.” She looked deep into his eyes, searchingly. Her mouth opened a little, and she seemed to be listening. “I’ll try to tell you,” she said. “Did you ever hear of planting hands?”

“Can’t say I have, ma’am.”

“Well, I can only tell you what it feels like. It’s when you’re picking off the buds you don’t want. Everything goes right down into your fingertips. You watch your fingers work. They do it themselves. You can feel how it is. They pick and pick the buds. They never make a mistake. They’re with the plant. Do you see? Your fingers and the plant. You can feel that, right up your arm. They know. They never make a mistake. You can feel it. When you’re like that you can’t do anything wrong. Do you see that? Can you understand that?”

She was kneeling on the ground looking up at him. Her breast swelled passionately.

The man’s eyes narrowed. He looked away self-consciously. “Maybe I know,” he said. “Sometimes in the night in the wagon there—”

Elisa’s voice grew husky. She broke in on him. “I’ve never lived as you do, but I know what you mean. When the night is dark—why, the stars are sharp-pointed, and there’s quiet. Why, you rise up and up! Every pointed star gets driven into your body. It’s like that. Hot and sharp and—lovely.”

Kneeling there, her hand went out toward his legs in the greasy black trousers. Her hesitant fingers almost touched the cloth. Then her hand dropped to the ground. She crouched low like a fawning dog.

He said, “It’s nice, just like you say. Only when you don’t have no dinner, it ain’t.”

She stood up then, very straight, and her face was ashamed. She held the flower pot out to him and placed it gently in his arms. “Here. Put it in your wagon, on the seat, where you can watch it. Maybe I can find something for you to do.”

At the back of the house she dug in the can pile and found two old and battered aluminum saucepans. She carried them back and gave them to him. “Here, maybe you can fix these.”

His manner changed. He became professional. “Good as new I can fix them.” At the back of his wagon he set a little anvil, and out of an oily tool box dug a small machine hammer. Elisa came through the gate to watch him while he pounded out the dents in the kettles. His mouth grew sure and knowing. At a difficult part of the work he sucked his under-lip.

“You sleep right in the wagon?” Elisa asked.

“Right in the wagon, ma’am. Rain or shine I’m dry as a cow in there.”

“It must be nice,” she said. “It must be very nice. I wish women could do such things.”

“It ain’t the right kind of a life for a woman.”

Her upper lip raised a little, showing her teeth. “How do you know? How can you tell?” she said.

“I don’t know, ma’am,” he protested. “Of course I don’t know. Now here’s your kettles, done. You don’t have to buy no new ones.”

“How much?”

“Oh, fifty cents’ll do. I keep my prices down and my work good. That’s why I have all them satisfied customers up and down the highway.”

Elisa brought him a fifty-cent piece from the house and dropped it in his hand. “You might be surprised to have a rival some time. I can sharpen scissors, too. And I can beat the dents out of little pots. I could show you what a woman might do.”

He put his hammer back in the oily box and shoved the little anvil out of sight. “It would be a lonely life for a woman, ma’am, and a scarey life, too, with animals creeping under the wagon all night.” He climbed over the singletree, steadying himself with a hand on the burro’s white rump. He settled himself in the seat, picked up the lines. “Thank you kindly, ma’am,” he said. “I’ll do like you told me; I’ll go back and catch the Salinas road.”

“Mind,” she called, “if you’re long in getting there, keep the sand damp.”

“Sand, ma’am?. .. Sand? Oh, sure. You mean around the chrysanthemums. Sure I will.” He clucked his tongue. The beasts leaned luxuriously into their collars. The mongrel dog took his place between the back wheels. The wagon turned and crawled out the entrance road and back the way it had come, along the river.

Elisa stood in front of her wire fence watching the slow progress of the caravan. Her shoulders were straight, her head thrown back, her eyes half-closed, so that the scene came vaguely into them. Her lips moved silently, forming the words “Good-bye—good-bye.” Then she whispered, “That’s a bright direction. There’s a glowing there.” The sound of her whisper startled her. She shook herself free and looked about to see whether anyone had been listening. Only the dogs had heard. They lifted their heads toward her from their sleeping in the dust, and then stretched out their chins and settled asleep again. Elisa turned and ran hurriedly into the house.

In the kitchen she reached behind the stove and felt the water tank. It was full of hot water from the noonday cooking. In the bathroom she tore off her soiled clothes and flung them into the corner. And then she scrubbed herself with a little block of pumice, legs and thighs, loins and chest and arms, until her skin was scratched and red. When she had dried herself she stood in front of a mirror in her bedroom and looked at her body. She tightened her stomach and threw out her chest. She turned and looked over her shoulder at her back.

After a while she began to dress, slowly. She put on her newest underclothing and her nicest stockings and the dress which was the symbol of her prettiness. She worked carefully on her hair, pencilled her eyebrows and rouged her lips.

Before she was finished she heard the little thunder of hoofs and the shouts of Henry and his helper as they drove the red steers into the corral. She heard the gate bang shut and set herself for Henry’s arrival.

His step sounded on the porch. He entered the house calling, “Elisa, where are you?”

“In my room, dressing. I’m not ready. There’s hot water for your bath. Hurry up. It’s getting late.”

When she heard him splashing in the tub, Elisa laid his dark suit on the bed, and shirt and socks and tie beside it. She stood his polished shoes on the floor beside the bed. Then she went to the porch and sat primly and stiffly down. She looked toward the river road where the willow-line was still yellow with frosted leaves so that under the high grey fog they seemed a thin band of sunshine. This was the only color in the grey afternoon. She sat unmoving for a long time. Her eyes blinked rarely.

Henry came banging out of the door, shoving his tie inside his vest as he came. Elisa stiffened and her face grew tight. Henry stopped short and looked at her. “Why—why, Elisa. You look so nice!”

“Nice? You think I look nice? What do you mean by ‘nice’?”

Henry blundered on. “I don’t know. I mean you look different, strong and happy.”

“I am strong? Yes, strong. What do you mean ‘strong’?”

He looked bewildered. “You’re playing some kind of a game,” he said helplessly. “It’s a kind of a play. You look strong enough to break a calf over your knee, happy enough to eat it like a watermelon.”

For a second she lost her rigidity. “Henry! Don’t talk like that. You didn’t know what you said.” She grew complete again. “I’m strong,” she boasted. “I never knew before how strong.”

Henry looked down toward the tractor shed, and when he brought his eyes back to her, they were his own again. “I’ll get out the car. You can put on your coat while I’m starting.”

Elisa went into the house. She heard him drive to the gate and idle down his motor, and then she took a long time to put on her hat. She pulled it here and pressed it there. When Henry turned the motor off she slipped into her coat and went out.

The little roadster bounced along on the dirt road by the river, raising the birds and driving the rabbits into the brush. Two cranes flapped heavily over the willow-line and dropped into the river-bed.

Far ahead on the road Elisa saw a dark speck. She knew.

She tried not to look as they passed it, but her eyes would not obey. She whispered to herself sadly, “He might have thrown them off the road. That wouldn’t have been much trouble, not very much. But he kept the pot,” she explained. “He had to keep the pot. That’s why he couldn’t get them off the road.”

The roadster turned a bend and she saw the caravan ahead. She swung full around toward her husband so she could not see the little covered wagon and the mismatched team as the car passed them.

In a moment it was over. The thing was done. She did not look back.

She said loudly, to be heard above the motor, “It will be good, tonight, a good dinner.”

“Now you’re changed again,” Henry complained. He took one hand from the wheel and patted her knee. “I ought to take you in to dinner oftener. It would be good for both of us. We get so heavy out on the ranch.”

“Henry,” she asked, “could we have wine at dinner?”

“Sure we could. Say! That will be fine.”

She was silent for a while; then she said, “Henry, at those prize fights, do the men hurt each other very much?”

“Sometimes a little, not often. Why?”

“Well, I’ve read how they break noses, and blood runs down their chests. I’ve read how the fighting gloves get heavy and soggy with blood.”

He looked around at her. “What’s the matter, Elisa? I didn’t know you read things like that.” He brought the car to a stop, then turned to the right over the Salinas River bridge.

“Do any women ever go to the fights?” she asked.

“Oh, sure, some. What’s the matter, Elisa? Do you want to go? I don’t think you’d like it, but I’ll take you if you really want to go.”

She relaxed limply in the seat. “Oh, no. No. I don’t want to go. I’m sure I don’t.” Her face was turned away from him. “It will be enough if we can have wine. It will be plenty.” She turned up her coat collar so he could not see that she was crying weakly—like an old woman.

The Chrysanthemums

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Summary: “the chrysanthemums”.

“The Chrysanthemums” is a short story by American author John Steinbeck, originally published in 1937 in Harper’s Magazine . It was later added to Steinbeck’s collection of short stories titled The Long Valley , which was published in 1938, and it was adapted into a short film by Steve Rossen in 1990.

The story opens with a description of a grey winter day in the Salinas Valley of California, where many of Steinbeck’s writings are set. After describing the farmland that makes up the valley and the cold air, the story zooms into Henry Allen’s ranch, where the protagonist , his wife Elisa Allen , is working in her flower garden. She is wearing heavy boots, a man’s hat, leather gloves, and a thick apron over her dress. She is cutting down last year’s chrysanthemum stalks while her husband talks to two businessmen by the tractor shed.

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When the businessmen leave, Henry approaches Elisa and compliments her ability to grow flowers, saying that he wishes she would use her green thumb in the orchards. Elisa likes this suggestion and is eager to help, but Henry doesn’t pursue it further. Instead, he suggests a dinner in Salinas to celebrate the two businessmen buying his steers. He jokingly suggests going to see the prize fights, but Elisa says no, and he suggests seeing a movie instead. Elisa agrees, and Henry leaves her to her planting while he and his farmhand gather the steers.

Elisa energetically trims the chrysanthemum stalks and arranges them in orderly piles. Before long, she hears wheels and turns to see a wagon approaching. The side of the wagon reads, “Pots, pans, knives, sisors, lawn mores, Fixed” (3). The man in the wagon stops near Elisa and the two exchange witty remarks about the man’s dog. He asks for directions to the Los Angeles highway. Elisa advises him to go back the way he came to ensure that his horses don’t have to pull through the sand around the river.

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The man is large with calloused hands and dark eyes. He tells Elisa that traveling takes up all his time, and Elisa says she thinks that would be a nice way to live. The man then offers to repair pots or sharpen knives or scissors for Elisa. She replies that she has no work for him. The man presses on, talking about how skilled he is with sharpening scissors and mending pots and pans. Elisa is irritated and reiterates that she has no work for him.

The man then changes his tune and compliments Elisa’s garden, recognizing the chrysanthemums and commenting on their “nasty” smell. When Elisa argues that the smell is nice, he agrees and says he likes it. He then tells Elisa about a woman who asked him to bring her chrysanthemum seeds should he find any. Elisa immediately perks up and begins talking about her flowers, telling the man how best to plant and care for them. During the conversation, she takes off her hat and lets her hair loose. She invites the man into her garden and begins digging through the soil. While describing how she feels when working with the chrysanthemums, Elisa becomes passionate and nearly reaches out to touch the man’s leg but stops herself. Embarrassed, she hands the man chrysanthemum stalks and finds him two pots to mend.

While the man is mending the pots, Elisa watches him closely, asks him about life on the road, and repeats how nice it must be. The man replies that it’s no life for a woman. Elisa doesn’t like this response and argues that women are as capable as men. The man replies that traveling is too lonely and scary for a woman, then changes the subject. When the man finishes his mending, Elisa pays him and reminds him to keep the sand around the chrysanthemum stalks damp. He drives away, and she watches him with half-closed eyes.

After a moment, she shakes herself and walks into the house to bathe before dinner. She scrubs her body in the shower until it is red, and then examines her body in the mirror. She dresses slowly, taking great care with the clothes and makeup she puts on. Henry comes in from his work to bathe while Elisa sets his suit out on the bed. She then waits for him on the porch.

When Henry sees Elisa, he tells her she looks nice. She questions what he means by “nice,” and he says that she looks strong and happy. She agrees that she is strong, stronger than she knew, and questions what he means by strong. Henry is confused by her questioning and thinks she’s playing a game with him but reiterates that she looks happy and strong. Elisa’s mood changes rapidly and Henry leaves her to get the car. Elisa takes a long time putting on her hat and coat, watching herself in the mirror before joining Henry in the car.

On the drive into Salinas, Elisa sees the chrysanthemum stalks she gave the Tinker lying in the road where he dumped them. He kept the flowerpot she had given him. Ahead, she sees the man’s wagon and intentionally turns toward her husband to avoid looking at it.

She begins talking loudly to her husband about their dinner, asking if they can have wine. She then asks if the men in the prize fights hurt each other, mentioning how she’s read how bloody the fighters get. She then asks if women ever attend the fight. Henry is surprised and offers to bring Elisa to the fights, though he doesn’t think she’d like it. She turns away from him and says no; she’ll be happy enough if they have wine at dinner. The story closes with Elisa turning up her collar so Henry cannot see that she is crying “like an old woman” (11).

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Home — Essay Samples — Literature — John Steinbeck — The Chrysathemums’ Presents People’s Shortcomings

The Chrysathemums' Presents People's Shortcomings

Categories: John Steinbeck

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Published: Jul 17, 2018

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The Chrysanthemums vs the Story of an Hour essay

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The Chrysanthemums

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Theme Analysis

John Steinbeck’s 1937 story “The Chrysanthemums” depicts the strict gender roles that govern the life of Elisa Allen , a farmer’s wife living in the Salinas Valley during the early 20th-century. Elisa and her husband, Henry , live a modest life on their California land, and as the story opens, Elisa meticulously tends to her small chrysanthemum garden while Henry is engaged in business matters, brokering a cattle deal with a large meat company. Their gender roles dictate the types of work they do, and the respect others give them, but Elisa is not satisfied with this—she finds herself disillusioned by her life and is unable to find a proper outlet for her skill and ambition. Steinbeck’s depiction of Elisa’s struggles against society’s expectations of her underscores the damaging effects of gender inequality in American society and challenges the misconception that women are the weaker sex.

From the outset, Steinbeck depicts a society in which men’s work is considered more important than women’s work. This division of labor is clearest in the chores Henry and Elisa do on the farm: Elisa works in the garden maintaining an impressive display of chrysanthemums, while her husband tends cattle and negotiates livestock sales with men in business suits. Significantly, the chrysanthemums have no practical purpose (they are simply beautiful), while Henry’s cattle help sustain the family. This immediately places a greater value on Henry’s work than Elisa’s—something they both seem aware of when Elisa tells Henry that her that her chrysanthemums will be “strong” this year, and Henry replies, “You’ve got a gift with things […] I wish you’d work out in the orchard and raise some apples that big.” Here, he subtly belittles her skills, implying that they would be more impressive if she used them in the orchard, where she might grow something that actually contributes to the family.

Making this worse, when Elisa grows excited at the prospect of working in the orchard (thereby becoming more involved with the core aspects of the farm), Henry reveals that his comment was disingenuous—he has no intention of letting her work in the orchard, which he shows by redirecting the conversation. It’s obvious, then, that Henry does not want to change the dynamics of their life—he prefers to throw subtle barbs at Elisa’s uselessness over finding a way to make her feel challenged and fulfilled.

While Henry seems perfectly satisfied with the status quo, Elisa’s actions and appearance imply that she is out of place in a traditionally-female role. Elisa’s surprising masculinity is first apparent in her clothes. She wears “a man’s black hat pulled low down over her eyes, clodhopper shoes, [and] a print dress almost completely covered by a big corduroy apron.” The black hat obscures her physical identity as a woman, while her bulky shoes and coarse apron hide any trace of femininity that might be reflected in her dress. Instead of presenting herself in a ladylike fashion (as would have been the norm), Elisa seems most comfortable in clothing that is functional. Furthermore, Elisa is interested in traditionally-masculine roles and activities. For instance, she demonstrates in the story’s final moments that she has been reading about the violence of prize fights, evidencing her curiosity about an activity that Henry seems to think isn’t the proper place for a woman.

Most significantly, Elisa shows that she dreams of an entirely different life. When the tinker arrives on the Allens’ farm in search of work mending pots or sharpening scissors , Elisa expresses an explicit longing for the tinker’s nomadic life of fixing household items for money—a life that he says “ain’t the right kind of life for a woman.” As she watches his wagon leave, she surprises herself by whispering aloud, “That’s a bright direction. There’s a glowing there.” Clearly, Elisa wants more than her lot has provided—and perhaps her surprise at her own words shows that she wants this more than she even knows.

While Elisa’s unfulfilled dreams are tragic enough, Steinbeck deliberately suggests that they would be within her grasp were she not a woman. After all, her curiosity is met with an energy, ambition, and capability that would seem to equip her for whatever life she wants. Steinbeck suggests early on that her current life cannot accommodate such capability and ambition: while gardening, Elisa is “over-eager” and “over-powerful,” and the chrysanthemum stems are “too small and easy for her energy.” This suggests that her “planters’ hands” (her gift with gardening) would make her a real asset to the orchard, if only Henry would allow her to become more involved in the farm. Furthermore, her curiosity about the tinker’s life isn’t idle—she shares his skill set and could therefore presumably do his job. “I can beat the dents out of little pots,” she says. “I could show you what a woman might do.”

However, despite Elisa’s skill and ambition—her skill in the garden and her vocal desire to work in the orchard or live as the tinker does—Steinbeck ends the story pessimistic about the ability of even the strongest woman to transcend society’s expectations of her. When Elisa shares her knowledge of gardening with the tinker, she feels empowered and useful. Someone has treated her like an expert at something, rather than simply belittling her skills, and it changes her manner. However, Elisa’s new confidence—her appearance of being “strong and happy”—dissolves as she sees the chrysanthemums on the road, an indication that not only did the tinker not actually want her gardening expertise, but he also used it to manipulate her. On this day, Elisa has glimpsed a life in which her ambitions are possible, and she believes for a moment that things might change. But the tinker’s manipulation of her desires leaves her devastated, making her an old and weak woman—the very destiny she hoped to avoid.

Gender, Power, and Ambition ThemeTracker

Gender, Power, and Ambition Quotes in The Chrysanthemums

She was thirty-five. Her face was lean and strong and her eyes were clear as water. Her figure looked blocked and heavy in her gardening costume, 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 with four big pockets to hold the snips, the trowel and scratcher, the seeds and the knife she worked with.

“You’ve got a gift with things,” Henry observed. “Some of those yellow chrysanthemums you had this year were ten inches across. I wish you’d work out in the orchard and raise some apples that big.”

Elisa’s voice grew husky. She broke in on him, “I’ve never lived as you do, but I know what you mean. When the night is dark – why, the stars are sharp-pointed, and there’s quiet. Why, you rise up and up! Every pointed star gets driven into your body. It’s like that. Hot and sharp and – lovely.”

Elisa stood in front of her wire fence watching the slow progression of the caravan. Her shoulders were straight, her head thrown back, her eyes half-closed, so that the scene came vaguely into them. Her lips moved silently, forming the words “Good-bye – good-bye.” Then she whispered, “That’s a bright direction. There’s a glowing there.” The sound of her whisper startled her. She shook herself free and looked to see whether anyone had been listening. Only the dogs had heard.

She tried no to look as they passed it, but her eyes would not obey. She whispered to herself sadly, “He might have thrown them off the road. That wouldn’t have been much trouble, not very much. But he kept the pot,” she exclaimed. “He had to keep the pot. That’s why he couldn’t get them off the road.”

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COMMENTS

A Summary and Analysis of John Steinbeck's 'The Chrysanthemums'
You can read 'The Chrysanthemums' here before proceeding to our summary and analysis of the story below. 'The Chrysanthemums': plot summary. The story is set during the Great Depression in the US in the 1930s. Elisa Allen is a 35-year-old wife of a rancher in Salinas Valley in California (the setting for many of Steinbeck's short ...
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Published: Mar 16, 2024. John Steinbeck's short story "The Chrysanthemums" is a poignant exploration of gender roles, isolation, and the longing for fulfillment. Through the character of Elisa Allen, Steinbeck delves into the complexities of a woman's experience in a patriarchal society, shedding light on the limitations and expectations placed ...
"The Chrysanthemums" by John Steinbeck: Analysis
Main Events in "The Chrysanthemums" by John Steinbeck. Elisa Allen tends to her chrysanthemums on her isolated ranch in the Salinas Valley. A tinker visits the ranch, seeking work and repair jobs. Elisa is initially hesitant to engage with the tinker, but eventually becomes intrigued by his lifestyle and stories of travel.
The Chrysanthemums Summary & Analysis
As Henry approaches the garden, Elisa is startled by his sudden appearance. He compliments Elisa's ability to grow such large chrysanthemums and suggests that she apply her gardening skills in the orchard, growing apples instead. Elisa is convinced of her skills—thanks to her "planters' hands"—and is confident in her ability to grow anything, including apples.
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Historical Context of The Chrysanthemums. Steinbeck wrote and published "The Chrysanthemums" in 1937, one year after the New Deal, a series of public programs and projects implemented by President Franklin D. Roosevelt. Roosevelt's New Deal sought to bring relief and reformation to those who were hit hardest by the Great Depression, and ...
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One of John Steinbeck's most accomplished short stories, The Chrysanthemums is about an intelligent, creative woman coerced into a stifling existence on her husband's ranch.The story appeared in Harper's Magazine in 1937; a revised version, which contained less sexual imagery, was published in the 1938 collection The Long Valley.Many critics believe the story reflected Steinbeck's own ...
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Steinbeck wrote ''The Chrysanthemums'' in 1934, as the United States was just beginning to recover from the Great Depression. The Depression began with the collapse of the New York Stock ...
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The Chrysanthemums ~ A Classic American Short Story by John Steinbeck (1902-1968) The high grey-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. On…
The Chrysanthemums Summary and Study Guide
Summary: "The Chrysanthemums". "The Chrysanthemums" is a short story by American author John Steinbeck, originally published in 1937 in Harper's Magazine. It was later added to Steinbeck's collection of short stories titled The Long Valley, which was published in 1938, and it was adapted into a short film by Steve Rossen in 1990.
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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 ...
The Chrysanthemums Themes
John Steinbeck's 1937 story "The Chrysanthemums" depicts the strict gender roles that govern the life of Elisa Allen, a farmer's wife living in the Salinas Valley during the early 20th-century.Elisa and her husband, Henry, live a modest life on their California land, and as the story opens, Elisa meticulously tends to her small chrysanthemum garden while Henry is engaged in business ...
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In "The Chrysanthemums," John Steinbeck examines people's limitations. He not only examines the restrictions placed upon women in the male-oriented society of its day, but also the intellectual and emotional limitations of the men to understand and acknowledge such a fact. The protagonist, Elisa Allen, has much to offer.
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John Steinbeck's "The Chrysanthemums" is a story that is full of symbolism. After the first read, it might seem like an innocent tale about a woman and her garden. However, upon further examination, the reader learns it is actually a story about a woman's desires and frustrations in her life. Steinbeck uses many examples, such as the flowers to ...
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723. Elisa Allen in Steinbeck's "The Chrysanthemums" and Louise Mallard in Chopin's "The Story of an Hour" have a lot in typical because of the truth that they both went through similar struggles. Both Elisa and Louise prove to be strong females that plainly had imagine their own such as being equivalent to guys and having an enthusiastic ...
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1.2.8 Write: Prepare Academic Writing Writing Guide Practice academic writing by drafting a body paragraph for an explanatory essay. You'll analyze the text, John Steinbeck's "The Chrysanthemums," and gather evidence for your response to support the claim provided. Note that for this assignment you don't need to write a full essay. You'll be given an introduction and a conclusion paragraph ...
write a body paragraph for an explanatory essay on the story The
The Chrysanthemums is a short story written by John Steinbeck. When writing a body paragraph for an explanatory essay on this story, you should focus on providing analysis and supporting evidence to help explain the themes or ideas presented in the text. Here's an example of a body paragraph for an explanatory essay on The Chrysanthemums: In ...
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John Steinbeck's 1937 story "The Chrysanthemums" depicts the strict gender roles that govern the life of Elisa Allen, a farmer's wife living in the Salinas Valley during the early 20th-century.Elisa and her husband, Henry, live a modest life on their California land, and as the story opens, Elisa meticulously tends to her small chrysanthemum garden while Henry is engaged in business ...
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Write a body paragraph for an explanatory essay that supports the claim and uses academic writing throughout. ... Evidence from "The Chrysanthemums" to support the claim you were given An objective tone, free of obvious opinions and bias, and a formal style Effective use of language, such as parallel structure, varied phrases and clauses, and ...
Write a body paragraph for an explanatory essay that supports the claim
There are different ways to write an essay. The body paragraph for an explanatory essay that supports the Chrysanthemums claim and that uses academic writing is given below.. The Chrysanthemums. The Chrysanthemums by John Steinbeck is a short story about a woman's development.Elisa Allen, the protagonist of the narrative, is seen working in her garden in the beginning.
Write a body paragraph for an explanatory essay that supports the claim
Final answer: In an explanatory essay supporting a claim using evidence from "The Chrysanthemums", it is crucial to maintain an objective tone and formal style and incorporate effective language techniques.The option (A) is correct. Explanation: In the body paragraph of an explanatory essay that supports the claim using evidence from "The Chrysanthemums", it is important to maintain an ...

“The Chrysanthemums” by John Steinbeck: Analysis

Introduction: “The Chrysanthemums” by John Steinbeck

Main Events in “The Chrysanthemums” by John Steinbeck

Literary Devices in “The Chrysanthemums” by John Steinbeck

Characterization in “The Chrysanthemums” by John Steinbeck

Henry Allen

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Major Themes in “The Chrysanthemums” by John Steinbeck

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