In his short story “The Chrysanthemums,” John Steinbeck describes not only the restrictions placed on the protagonist, Elisa Allen, in the male-dominated society of her time, but also the shortcomings intellectual and emotional. men to understand and recognize such a fact. Through his text, Steinbeck questions people's limits. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get an original essay The opening lines of "The Chrysanthemums" not only set the scene for the story, winter in the Salinas Valley, California, but also capture the idea of ​​limitation. Steinbeck writes: “The gray-flannel fog of winter closed the Salinas Valley to the sky and the rest of the world. On all sides it rested like a lid on the mountains and made the great valley a closed pot” (Steinbeck 389). The “gray” color and thick, warm “flannel” texture of the fog limits visibility, effectively separating the valley and its inhabitants from the rest of the world. The idea of ​​enclosure continues when the author compares the fog attached to the mountains and valley to a lid on a pot. Not only does fog reduce visibility, but also, as the simile suggests, the energy and spirit within it cannot be expressed. As if looking through a telescope the wrong way, Steinbeck cuts from a panoramic view of the valley, across the river, to Henry Allen's ranch, and finally to the protagonist herself , Henry's wife, Elisa. Through the narrowed perspective, Steinbeck makes her small and insignificant, almost lost in a larger world. The initial image of Elisa confined in “the fence that protected her flower garden from cattle, dogs and chickens” (390), reinforces the idea of ​​limitation, her world within a larger world. The unyielding, harsh quality of the "wire fence", as well as the list of potential dangers that seem more extensive through the repetition of the "and", suggest that she, like her chrysanthemums, needs substantial protection from the outside world . Behind the walled garden stands Allen's house, "a white farmhouse surrounded by red geraniums crowded to the windows" (390). Elisa's house, similar to her garden, resembles a prison, with the geraniums resembling "high" and "tight" security walls. The quantity of flowers, as well as their height, “as high as the windows,” limits both vision and movement. Such physical images of constraint: the fog, the walled garden and the house symbolize limitations, captivity and restricted vision. The author develops the theme of limitations by considering Elisa Allen herself. Unlike the “figured print dress” (390), the shapeless, functional gardening clothes she wears obscure her femininity. Described as a “costume” (390), his clothing modifies or disguises his true appearance. The weight and size of the clothes: “clodhopper shoes,” “large corduroy apron” with “large pockets,” and the “heavy leather gloves” that cover her hands, hide the real Elisa (390). The very length of the third sentence illustrates the weight and formlessness of the garment that disguises it. With the “man's black hat,” clothes emasculating her, Elisa's sexuality is almost completely “blocked” or restricted (390). Chrysanthemum seeds and gardening tools: “trowel,” “scrapers,” and “knife,” which indicate fertility and possibly sexuality, remain buried deep in the pockets of Elisa’s apron (390). Even though her youth is over, at thirty-five years old, Elisa has plenty of time to live. Unlike the fog that blinds the area, his eyes "alsoclear as water” (390) show not only impressive vision and probable wisdom, but also the ability and desire to see beyond the immediate. Clearly, she has a lot to offer. Not only attractive, she has maturity and wit. Yet Steinbeck infers that Elisa's energy can barely be contained in her limited lifestyle. As she cuts the old chrysanthemum stems, she appears "too impatient, too powerful" as if the thick stems seemed "too small and too easy for her energy" (390). Likewise, his “little house” looked “hard swept,” the windows “hard polished” (390). His enthusiasm and abilities make his efforts too extreme for the tasks at hand; therefore, the stems and house appear smaller than likely. Like the chrysanthemums she cares for, Elisa has the potential to flourish greatly if only the limitations imposed on her disappear. The two male characters in the text represent the society which imposes limitations and constraints on Elisa and other women. Henry Allen and the visiting tinker, at different times, each converse with her on the other side of the fence. The fact that she remains within the confines of her garden implies that Elisa cannot be part of the world of men. Likewise, men, incapable of appreciating her needs and talents, remain without. At the beginning of the story, Elisa simply watches from afar as her husband conducts business with two other men. Steinbeck writes that she “looked across the courtyard and saw Henry, her husband, talking to two men in business suits” (389). The distance between her and the men, emphasized by the words "from below", confirms that as a woman she must be excluded from meaningful discussions even if she seems smarter than her husband or the handyman for that matter. The misspelled words "scissors" (391) and "lawn" (391), as well as the drips of paint on the handyman's cart, seem sloppy in comparison with the efficiency of Elisa's activity around the house and the garden. Despite the tinkerer's limitations, his lack of intelligence and perception, he has the freedom to be and do what he wants. He “[goes] from Seattle to San Diego and back every year. Takes all your time. About six months each way. [It] [aims] to follow the good weather” (392). Short sentences seem to save time. On his way to San Diego, he follows the sun, the warm weather and the possible prospects. Yet Elisa Allen remains in the winter fog. Steinbeck implies that man has opportunities, woman none. When the tinker surmises, “This is not the right kind of life for a woman,” Steinbeck writes, “his upper lip rose slightly, showing his teeth. 'How do you know? How can you know?' » (394). Showing one's teeth alludes to both aggression and defense. Later, as she watched the handyman leave, Elisa whispered, "That's bright direction." There is a glow there” (395) because she senses the possibilities of a more fulfilling life. Her whispers suggest fear but also guilt as she “looked around to see if anyone was listening” (395). Through Elisa, Steinbeck questions the necessity of the limitations that society imposes on women. Within the confines of a male-dominated society come the new limitations of marriage. Aware of her responsibilities, Elisa keeps a clean home and takes care of her husband's needs. When Henry came home from work, “Elisa [had] laid her dark suit on the bed, her shirt, socks, and tie behind” (395). The use of the comma, as well as the repetition of “and” lengthens the sentence. In its effectiveness, itprovides for all of Henry's needs, but the task seems tedious. In turn, Henry cares about his wife: he compliments her gardening skills and offers to take her to celebrate her business deal. However, while their conversation seems pleasant, it lacks spontaneity and familiarity. Elisa comments “well” (390) on Henry’s business transaction and again the suggestion of a night out. The repetition of his bland response: “Well… Oh, yes. It will be good” (390), suggests a lack of real interest. Likewise, Henry must “take the tone of a joke” (391). The fact that he has to “adopt” a relaxed tone indicates an unnatural strength and stiffness between them. On the other hand, Elisa and the handyman converse with ease and humor. Steinbeck writes: “The man caught up his laughter and took it back warmly” (391). The word “echoing” captures the naturalness of their chatter. Sensing the easy familiarity they share, Elisa's repressed sexuality begins to emerge. Although Elisa does not seem to notice her husband's appearance, her quick assessment of the handyman reveals his interest. His interest intensifies when he observes his chrysanthemums, and by extension her. In Elisa's haste and enthusiasm to gather small shoots for the handyman to take, she temporarily forgets the narrowness of her life and "[rips off] [her] battered hat and [shakes] her pretty black hair » (393). The verb “tears” indicates not only passion but also the desire simply to be herself. By removing the man's hat, she lets her femininity emerge. When the DIYer allows himself to be instructed and guided by Elisa's gardening know-how, the newfound freedom acts like an aphrodisiac. Steinbeck writes how "her breasts swelled passionately" (394) and her "voice became hoarse" (394), releasing her previously confined sexuality. Once the handyman leaves, Elisa enters the house to bathe. The description of her rubbing her "legs and thighs, loins, chest and arms, until her skin was scratched and red" (395) reveals her thoroughness and determination to simply be herself . When she looks at her naked body, Elisa finally experiences complete freedom, the constraints and limitations having disappeared. Society demands that Elisa's freedom from limitations be short-lived. Elisa's change in appearance creates tension between husband and wife. As Henry emerges from his bath, Elisa “stiffens and her face contorts” (396). She feels a mixture of apprehension and hope, wanting to elicit a romantic or sexual response from her husband. While he sees a positive change in his wife's comment: "You are different, strong and happy" (396), he seems confused and worried about his transformation. Steinbeck describes how Henry “blundered” and seemed “disconcerted” (396). Her own limitations make it difficult for him to accept her as anything other than a devoted wife or perhaps to understand her need for more. Recognizing her defeat, Elisa replaces her hat before leaving the home to join her husband. The firm action of “[pulling] it here and [pressing] it there” captures his resignation as once again his true self disappears. When Elisa sees the chrysanthemum shoots abandoned by the side of the road, her rejection seems total. The final scene between the couple creates pathos. Henry's eagerness to please his wife with more frequent outings and wine with dinner is simply insufficient. In turn, Elisa rejects her instinctive desire to witness a fight with all the passion and excitement it implies, the fighting gloves "heavy and soaked with blood" (396). Elisa convinces herself: “Oh no. No, I don't want to go there. I’m sure not” (397). Obviously, she does. His regression?