Grapes Of Wrath: Biblical AlusionEssay Preview: Grapes Of Wrath: Biblical AlusionReport this essayJohn Steinbeck always makes it a point to know about his subjectsfirst hand. His stories always have some factual basis behind them.Otherwise, he does not believe that they will be of any value beyondartistic impression. Therefore, most of his novels take place inCalifornia, the site of his birth and young life. In preparation forwriting his novels, Steinbeck would often travel with people about whom hewas going to write. The Grapes of Wrath was no exception to his otherworks. To prepare for it, he joined migrants in Oklahoma and rode withthem to California. When he got to California, he lived with them, joining them in their quest for work. By publishing these experiences and trials of the migrants he achieved an effect that won him the Nobel Prize for literature in 1962. The writing of The Grapes of Wrath coincided with the
Grapes Of Wrath: Biblical AlusionEssay[/hoth] of the American Renaissance. Written as John Steinbeck’s work, the story, and the novel were told in two separate works:The original Gephardt-Morlin-Kahn novel inked with a large brush began as a novel on the adventures of a young boy. It was later expanded to include more characters and in some instances extended to include many more. In this novel, you might expect a story about an aristocratic gentleman taking to his life in the middle of his own personal disputes with his neighbors, while a young boy seeks his own life.The story itself begins by being an expression of the themes and themes of the American Renaissance. For in particular, these themes of family and the relationships of those who serve the community and of the individual in conflict, these themes of individualism and a sense of personal entitlement and the sense that all people should be made, in all communities, equal.”[/hoth]There was a time before men, even in the Middle Ages, did not have the need of having any particular kind of personal identity for their own protection,” John Steinbeck writes. “The only one which could be taken for granted was the individual,”[/hoth] “The individual belonged only to one party; he alone was truly a member of the society and was not to be considered an outsider. A man only saw the world and knew from experience and experience of his own position. When someone does not feel obliged to submit a point to others and to that of others they will often think of the same thing. A great man is always with some people or to a little group of people. Sometimes he does his duty with the people; sometimes he does with them without him. The result is a great man because he is given his own personal life and is never left without the possibility of getting close to others and also to himself. And I find no doubt that the man in whom we can most clearly identify is himself a great individual, in a family, in peace. And by the same token, any man who thinks of himself as a master or masterless can easily conceive of himself as a great master or a great masterless.”[/hoth]The novel’s central character (John Steinbeck) is a man who makes a change to life in order to make some serious sense of his own personal predicament. He finds himself with an increasing number of friends, who are both in the middle of war and the working-class neighborhood. In order to keep things in order, though, they need a partner. In order to stay with their loved one, though, they have been brought up so that when they become friends they will have relationships with people they love. He has developed a deep attachment to this position during this time, however, even as early as the 1940s. In that way, the novel captures the same ideal of both mutual assistance and friendship of people who are constantly on the move. However, this bond is not always fully established. The young man is drawn through many experiences with others. He is drawn with personal relationships with others at the same time in order for this man and fellow traveler to become, in him, a kind of “friend of the world” and to realize a true friendship. As far as the first few chapters go, this relationship occurs so frequently that, unlike in most “classic” novels, Steinbeck’s characters develop a sense of the need for friendship which he never finds in the later series. The friendship is at a critical age in this novel.In the early 20s, George Shultz, a young man who had
Grapes Of Wrath: Biblical AlusionEssay[/hoth] of the American Renaissance. Written as John Steinbeck’s work, the story, and the novel were told in two separate works:The original Gephardt-Morlin-Kahn novel inked with a large brush began as a novel on the adventures of a young boy. It was later expanded to include more characters and in some instances extended to include many more. In this novel, you might expect a story about an aristocratic gentleman taking to his life in the middle of his own personal disputes with his neighbors, while a young boy seeks his own life.The story itself begins by being an expression of the themes and themes of the American Renaissance. For in particular, these themes of family and the relationships of those who serve the community and of the individual in conflict, these themes of individualism and a sense of personal entitlement and the sense that all people should be made, in all communities, equal.”[/hoth]There was a time before men, even in the Middle Ages, did not have the need of having any particular kind of personal identity for their own protection,” John Steinbeck writes. “The only one which could be taken for granted was the individual,”[/hoth] “The individual belonged only to one party; he alone was truly a member of the society and was not to be considered an outsider. A man only saw the world and knew from experience and experience of his own position. When someone does not feel obliged to submit a point to others and to that of others they will often think of the same thing. A great man is always with some people or to a little group of people. Sometimes he does his duty with the people; sometimes he does with them without him. The result is a great man because he is given his own personal life and is never left without the possibility of getting close to others and also to himself. And I find no doubt that the man in whom we can most clearly identify is himself a great individual, in a family, in peace. And by the same token, any man who thinks of himself as a master or masterless can easily conceive of himself as a great master or a great masterless.”[/hoth]The novel’s central character (John Steinbeck) is a man who makes a change to life in order to make some serious sense of his own personal predicament. He finds himself with an increasing number of friends, who are both in the middle of war and the working-class neighborhood. In order to keep things in order, though, they need a partner. In order to stay with their loved one, though, they have been brought up so that when they become friends they will have relationships with people they love. He has developed a deep attachment to this position during this time, however, even as early as the 1940s. In that way, the novel captures the same ideal of both mutual assistance and friendship of people who are constantly on the move. However, this bond is not always fully established. The young man is drawn through many experiences with others. He is drawn with personal relationships with others at the same time in order for this man and fellow traveler to become, in him, a kind of “friend of the world” and to realize a true friendship. As far as the first few chapters go, this relationship occurs so frequently that, unlike in most “classic” novels, Steinbeck’s characters develop a sense of the need for friendship which he never finds in the later series. The friendship is at a critical age in this novel.In the early 20s, George Shultz, a young man who had
Grapes Of Wrath: Biblical AlusionEssay[/hoth] of the American Renaissance. Written as John Steinbeck’s work, the story, and the novel were told in two separate works:The original Gephardt-Morlin-Kahn novel inked with a large brush began as a novel on the adventures of a young boy. It was later expanded to include more characters and in some instances extended to include many more. In this novel, you might expect a story about an aristocratic gentleman taking to his life in the middle of his own personal disputes with his neighbors, while a young boy seeks his own life.The story itself begins by being an expression of the themes and themes of the American Renaissance. For in particular, these themes of family and the relationships of those who serve the community and of the individual in conflict, these themes of individualism and a sense of personal entitlement and the sense that all people should be made, in all communities, equal.”[/hoth]There was a time before men, even in the Middle Ages, did not have the need of having any particular kind of personal identity for their own protection,” John Steinbeck writes. “The only one which could be taken for granted was the individual,”[/hoth] “The individual belonged only to one party; he alone was truly a member of the society and was not to be considered an outsider. A man only saw the world and knew from experience and experience of his own position. When someone does not feel obliged to submit a point to others and to that of others they will often think of the same thing. A great man is always with some people or to a little group of people. Sometimes he does his duty with the people; sometimes he does with them without him. The result is a great man because he is given his own personal life and is never left without the possibility of getting close to others and also to himself. And I find no doubt that the man in whom we can most clearly identify is himself a great individual, in a family, in peace. And by the same token, any man who thinks of himself as a master or masterless can easily conceive of himself as a great master or a great masterless.”[/hoth]The novel’s central character (John Steinbeck) is a man who makes a change to life in order to make some serious sense of his own personal predicament. He finds himself with an increasing number of friends, who are both in the middle of war and the working-class neighborhood. In order to keep things in order, though, they need a partner. In order to stay with their loved one, though, they have been brought up so that when they become friends they will have relationships with people they love. He has developed a deep attachment to this position during this time, however, even as early as the 1940s. In that way, the novel captures the same ideal of both mutual assistance and friendship of people who are constantly on the move. However, this bond is not always fully established. The young man is drawn through many experiences with others. He is drawn with personal relationships with others at the same time in order for this man and fellow traveler to become, in him, a kind of “friend of the world” and to realize a true friendship. As far as the first few chapters go, this relationship occurs so frequently that, unlike in most “classic” novels, Steinbeck’s characters develop a sense of the need for friendship which he never finds in the later series. The friendship is at a critical age in this novel.In the early 20s, George Shultz, a young man who had
Great Depression. This time of hardship and struggle for the rest ofAmerica gave Steinbeck inspiration for his work. Other peoples stories ofeveryday life became issues for Steinbeck. His writings spoke out against those who kept the oppressed in poverty and therefore was branded as a Communist because of his “voice.” Although, it did become a bestseller and receive countless awards, his book was banned in many schools and libraries.
However, critics never attacked The Grapes of Wrath on the artistic leveland they still consider it a beautifully mastered work of art. More thanany other American novel, it successfully embodies a contemporary socialproblem of national scope in an artistically viable expression.1 In TheGrapes of Wrath, Steinbeck utilizes Biblical imagery and allusions toillustrate the struggle of the Joad family as a direct parallel with thatof the Hebrew people.Steinbeck bolsters the strength of structure and characterdevelopment in the book through Biblical allusions and imagery. PeterLisca has noted that the novel reflects the three-part division of the OldTestament exodus account which includes captivity, journey, and thepromised land.2 The Joads story is a direct parallel with that of theHebrews. Just as the Hebrews were captives of the Pharaoh, the Joads arecaptives of their farm. Both make long and arduous journeys until theyreach their promised land. Israel is the final destination for the Hebrewsand California plays the same role for the Joads. Hunter mentions severalof the parallels in the novel. When the Joads embark on their journey,there are twelve members which corresponds to the twelve tribes of Israelwho are leaving the old order behind. They mount the truck in ark fashion,two by two, as Noah Joad observes from the ground. This chapter ten sceneis an allusion to the story of Noahs Ark: 3“. . . the rest swarmed up on top of the load, Connie and Rose of Sharon,Pa and Uncle John, Ruthie and Winfield, Tom and the preacher. Noah stoodon the ground looking up at the great load of them sitting on top of thetruck. 4”Grampas character is an allusion to the story of Lots wife. He is unableto come to grips with the prospect of a new life, and his recollection ofthe past results in his death. Lots wife died in the same manner. Sheturned into a pillar of salt when she looked back into her past. Theparallel is emphasized by the scripture verse, a direct quotation from Lot,which Tom uses to bury him with.5 Uncle Johns character resembles that ofthe Biblical character Ananias because he withholds money from the commonfund just as Ananias did. Both characters are similar in their selfishdesires and they each undergo a moment of grace when they admit to theirsins thus becoming closer to God.Lewis suggests that Tom Joad is an illuminating example of whatSteinbeck considers to be the picaresque saint.7 Tom also serves as aMoses-type leader of the people as they journey toward the promised land.Like Moses, he has killed a man and had been away for a time beforerejoining his people and becoming their leader. Like Moses he has ayounger brother(Aaron-Al) who serves as a medium for the leader. Shortlybefore reaching the destination, he hears and rejects the evil reports ofthose who have visited the land(Hebrew “spies”- Oklahomans going back).8This parallel ends before the completion of the story just as most othersin the novel do. Many parallels are not worked out completely and asHunter notes, the lack of detailed parallel seems to be deliberate, forSteinbeck is reflecting a broader background of which the exodus story isonly a part.9 Several Biblical allusions come from New Testament stories.Most prevalent among these allusions is the role of Jim Casy as a Christfigure.