During the infamous depression of the 1930’s, the combined evils of America’s economic downturn and the Dust Bowl drought left many southern farming families landless, weak, and subject to relentlessly vexing circumstances. John Steinbeck’s novel, The Grapes of Wrath, tells the story of these displaced farmers and their travels, whilst also intertwining within the plot, a profound use of symbolism in various forms to convey the adversity and trying attitudes of society during the time. Steinbeck uses animals, women, and Christianity as well developed symbols to place into perspective the hardships of the Joad family. Furthermore, these symbols illustrate the identifiable characteristics which differentiate between those who prospered and those
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Firstly, Ma Joad is symbolic for the indestructible nature of optimism as she is the leader of the clan and it is her faith and hope in not only the survival, but the ideal life, for her family that keeps them together and saved on a mental and physical level. This can be seen when in response to Ruthie saying "'Wisht we had a dog”, Ma replies with “'We'll have a dog; have a cat too'" and “You jus’ wait. Be fun purty soon. Git a house an’ a place, purty soon” (Steinbeck 438). In the midst of a life threatening storm, starvation, and Rose of Sharon’s still birth, Ma Joad relentlessly maintains hope and is arguably the sole reason the Joad family is able to be productive and not crumble under the immense pressure of the hardships they face. By making her a symbol of positivity and confidence, Stienbeck is drawing a direct correlation between hope and survival. The symbol of Ma Joad and its influence on the thesis is seen in Peter Lisca’s scholarly article, “The Grapes of Wrath as Fiction”, in which he states “with her resolute and determined nature, Ma Joad suggests even trying situations can be weathered with dignity and grace” (Lisca 299). Lisca is saying that her capacity to uphold the concept of hope, not only for herself, but for the entire Joad family, is indicative of its saving power because it provides an escape when one is not in sight. Another example of how women are used as a symbol is seen through Rose of Sharon. As a stark contrast to Ma Joad, Rose of Sharon begins in the story as a stereotypical, self-centered, and dependent girl and eventually transforms into a multi-dimensional and mysterious woman who is a symbol of hope. This change of persona is especially evident in the last chapter when with a simple “yes”, she “hoisted her tired body up and drew the comfort about her” as she breast fed the dying man in the barn (Steinbeck 455). This final scene is meant to
Firstly, Ma Joad is symbolic for the indestructible nature of optimism as she is the leader of the clan and it is her faith and hope in not only the survival, but the ideal life, for her family that keeps them together and saved on a mental and physical level. This can be seen when in response to Ruthie saying "'Wisht we had a dog”, Ma replies with “'We'll have a dog; have a cat too'" and “You jus’ wait. Be fun purty soon. Git a house an’ a place, purty soon” (Steinbeck 438). In the midst of a life threatening storm, starvation, and Rose of Sharon’s still birth, Ma Joad relentlessly maintains hope and is arguably the sole reason the Joad family is able to be productive and not crumble under the immense pressure of the hardships they face. By making her a symbol of positivity and confidence, Stienbeck is drawing a direct correlation between hope and survival. The symbol of Ma Joad and its influence on the thesis is seen in Peter Lisca’s scholarly article, “The Grapes of Wrath as Fiction”, in which he states “with her resolute and determined nature, Ma Joad suggests even trying situations can be weathered with dignity and grace” (Lisca 299). Lisca is saying that her capacity to uphold the concept of hope, not only for herself, but for the entire Joad family, is indicative of its saving power because it provides an escape when one is not in sight. Another example of how women are used as a symbol is seen through Rose of Sharon. As a stark contrast to Ma Joad, Rose of Sharon begins in the story as a stereotypical, self-centered, and dependent girl and eventually transforms into a multi-dimensional and mysterious woman who is a symbol of hope. This change of persona is especially evident in the last chapter when with a simple “yes”, she “hoisted her tired body up and drew the comfort about her” as she breast fed the dying man in the barn (Steinbeck 455). This final scene is meant to