The work is far more than that, however, and college students who study this novel as a part of an American literature course, will be involved in a great deal of analytical study of themes and symbols.
She wore a loose Mother Hubbard2 of gray cloth in which there had once been colored flowers, but the color was washed out now, so that the small flowered pattern was only a little lighter gray than the background. The dress came down to her ankles, and her strong, broad, bare feet moved quickly and deftly over the floor.
Her thin, steel-gray hair was gathered in a sparse wispy knot at the back of her head. Strong, freckled arms were bare to the elbow, and her hands were chubby and delicate, like those of a plump little girl.
She looked out into the sunshine. Her full face was not soft; it was controlled, kindly. Her hazel eyes seemed to have experienced all possible tragedy and to have mounted pain and suffering like steps into a high calm and a superhuman understanding.
She seemed to know, to accept, to welcome her position, the citadel of the family, the strong place that could not be taken. And since old Tom and the children could not know hurt or fear unless she acknowledged hurt and fear, she had practiced denying them in herself.
And since, when a joyful thing happened, they looked to see whether joy was on her, it was her habit to build up laughter out of inadequate materials. But better than joy was calm. Imperturbability could be depended upon. And from her great and humble position in the family she had taken dignity and a clean calm beauty.
From her position as healer, her hands had grown sure and cool and quiet; from her position as arbiter she had become as remote and faultless in judgment as a goddess.
She seemed to know that if she swayed the family shook, and if she ever really deeply wavered or despaired the family would fall, the family will to function would be gone.One who reads closely can find much growth in the characters of Ma Joad, Rose of Sharon, Tom, and even Al.
Then there is the former preacher, Casy, whose growth occurred before the Joads' story even began -- but Steinbeck offers glimpses of that growth in his stories to the ashio-midori.coms: 2K.
The Grapes of Wrath Analysis. Print Reference this.
Disclaimer: Rose of Sharon is always watching out for the greatest interests of her unborn child and its seems to symbolize motherly instinct and protection. “Steinbeck departs from strictly Biblical imagery in portraying Rose of Sharon as an ‘earth mother’.
Steinbeck, John. The. In Steinbeck's novel, The Grapes of Wrath, Ma Joad and Rose of Sharon graphically portray the themes of strength and sacrifice. They are universal characters, the people who make up the fabric of society in every nation. ANALYSIS. The Grapes of Wrath () John Steinbeck () Nobody could fail to be moved by the incident of Rose of Sharon giving her breast to the starving man yet, taken as the finale of such a book with all its vastness and surge, it struckus on the ideas of John Steinbeck and Jim Casy possess a significance of their own.
They. The Grapes of Wrath by John Steinbeck. Home / Literature / The Grapes of Wrath / Character Quotes / Rose of Sharon Rivers / Quotes by Character ; Rose of Sharon Rivers / Character Analysis Happy Homemaker Rose of Sharon is Tom's younger sister, and at first her life looks peachy keen.
The historical record of John Steinbeck’s working method that culminated in The Grapes of Wrath includes his accounts of the migrants in the camps gathered through his fieldwork and accompanied by photographic documentation by Dorothea Lange and other national photojournalists.