美國(guó)文學(xué)下學(xué)期期末復(fù)習(xí)(課堂PPT)

AmericanModernism(I)II.ModernismIII.ImagismIV.EzraPoundI.HistoricalBackground1I.HistoricalBackgroundA.InfluencesoftheWorldWarIa.Peoplewentintoitwithextremeenthusiasm,inspiredbytheidealofmakingtheworldsafefordemocracy.b.Therewasatremendousdisillusionmentbecausenothinghadchanged.Therewasapopularcontemptforthelaw.AlossoffaithbeganwithDarwin’stheoriesofevolution.2B.PhilosophicalIdeasA.NietzscheNietzscheofferedthemostinsightfulanalysisastowhythemainstreamWesterncivilizationhasdeclined:thehighestvalues(acombinationofChristianityandPlatonism)havedevaluedthemselves.3B.FreudFreudboldlyandnaturalisticallyexplainedthathumanbehaviorislargelytheresultofinstinctualdrives,suchassexualandaggressiveurges.The“self”isadynamismshapedbytension-fillednegotiationsbetweentheindividualdesires(id)andthepressuresfromcivilization(superego).Whenthetensionsandtraumasthereindonotappear,theybecomeunconscious.Therepressedintheunconsciousreturnsrepeatedlyassymptoms.4c.MarxismMarxismisanindispensableparadigmformodernismbecauseitdefines“modernity”asahistoricalstageinwhichcapitalism,profit-orientedandtechnology-driven,seriouslychangestheworldweliveinandour“humanity”.5II.ModernismA.ModernistMovementThetermmodernismreferstotheradicalshiftinaestheticandculturalsensibilitiesevidentintheartandliteratureofthepost-WorldWarOneperiod.Theordered,stableandinherentlymeaningfulworldviewofthenineteenthcenturycouldnot,wroteT.S.Eliot,accordwith"theimmensepanoramaoffutilityandanarchywhichiscontemporaryhistory."

6ThelargeculturalwaveofModernism,whichgraduallyemergedinEuropeandtheUnitedStatesintheearlyyearsofthe20thcentury,expressedasenseofmodernlifethroughartasasharpbreakfromthepast,aswellasfromWesterncivilization'sclassicaltraditions.Modernlifeseemedradicallydifferentfromtraditionallife--morescientific,faster,moretechnological,andmoremechanized.7B.ModernisminLiteratureInliterature,themovementisassociatedwiththeworksof(amongothers)Eliot,JamesJoyce,VirginiaWoolf,W.B.Yeats,EzraPound,GertrudeStein,H.D.,FranzKafkaandKnutHamsun.Intheirattempttothrowofftheaestheticburdenoftherealistnovel,thesewritersintroducedavarietyofliterarytacticsanddevices.

8Themostactiveandinfluentialwriters

Poets:EzraPound,T.S.Eliot,E.E.Cummings,RobertFrost,WilliamCarlosWilliams,WallaceStevens,andCarlSandburg;Novelists:ErnestHemingway,F.ScottFitzgerald,andWilliamFaulkner;Playwright:EugeneO'Neill.Otherwriters,suchasSherwoodAnderson,GertrudeStein,SinclairLewisandWillaCatherarealsoimportant.9Modernismisoften

derided嘲弄

forabandoningthesocialworldinfavorofits

narcissistic自我陶醉的

interestinlanguageanditsprocesses.Recognizingthefailureoflanguagetoeverfullycommunicatemeaning,themodernistsgenerallydownplayedcontentinfavorofaninvestigationofform.Thefragmented,non-chronological,poeticformsutilizedbyEliotandPoundrevolutionizedpoeticlanguage.10III.ImagismA.Development1.1908—1909T.E.HulmefoundedaPoets’Clubin1908.

Themosteffectivemeanstoexpressthemomentaryimpressionsisthrough“theuseofonedominantimage”.2.1912—1914

EzraPoundtookoverthemovement.In1912,theypublishedDesImagistes.a.Directtreatmentofthe“thing”,whethersubjectiveorobjective;11b.Touseabsolutelynowordthatdoesnotcontributetothepresentation;c.Asregardingrhythm,tocomposeinthesequenceofthemusicalphrase,notinthesequenceofametronome節(jié)拍.3.1914—1917

AmyLowelltookoverthemovementanddevelopeditinto“Amygism”.In1915,1916,1917,threevolumesof

SomeImagistPoets

cameout,containingsixprinciplesbasedontheoriginalthree.12B.DefinitionRichardAldington:Theexactwordmustbringtheeffectoftheobjectbeforethereaderasithadpresenteditselftothepoet’smindatthetimeofwriting.T.E.Hulme:Theimagemustenableone“todwellandlingeruponapointofexcitement,toachievetheimpossibleandconvertapointintoaline”.EzraPound:Animageis“thatwhichpresentsanintellectualandemotionalcomplexinaninstantoftime”.13C.ContributionItwasarebellionagainstthetraditionalpoeticswhichfailedtoreflectthenewlifeofthenewcentury.ItofferedanewwayofwritingwhichwasvalidnotonlyfortheImagistpoetsbutformodernpoetryasawhole.Almostallmajormodernpoetswereinonewayoranotherassociatedwithitandbenefitedfromitinasignificantway.ItisthismovementthathelpedtoopenthefirstpagesofmodernEnglishandAmericanpoetry.14IV.EzraPound

（1885-1972）A.GeneralIntroductionB.MainWorks1909Personae,poems；1909Exultations,poems；1910TheSpiritofRomance,essays;1915Cathay,poems/translations;

1920HughSelwynMauberley,poems；1931HowtoRead,essays;151934ABCofReading,essays;1935MakeItNew,essays;1936Chinesewrittencharacterasamediumforpoetry,byErnestFenollosa,editedandwithaforewordandnotesbyEzraPound;1948ThePisanCantos,poems；1951Confuciananalects,translatedbyEzraPound;1915-1962TheCantos…16C.ThreeImagistPoeticPrinciples

Directtreatmentofthe'thing'whethersubjectiveorobjective.

Touseabsolutelynowordthatdoesnotcontributetothepresentation.Asregardingrhythm:tocomposeinthesequenceofmusicalphrase,notinsequenceofametronome.17InaStationoftheMetroTheapparitionofthesefacesinthecrowd:Petalsonawetblackbough.ModernismMetroApparition:魅影18補(bǔ)充：Howisthecentralimageinthepoemrelatedtothesubjectthepoetintendstopresent?Thispoemisprobablythemostfamousofallimagistpoems.PoundattempttoproducetheemotionhefeltwhenhewalkeddownintoaParissubwaystationandsuddenlysawanumberoffacesinthedimlight.Tocapturetheemotion,Poundusestheimageofpetalsonwet,blackboughs.19Intwolinesitcombinesasharpvisualimageortwojuxtaposedimages意象的疊加“petalsonawet,blackbough”withanimpliedmeaning.Thefacesinthedimlightsuggestboththeimpersonalityandhasteofcitylifeandthegreatertransienceofhumanlife.Theword“apparition”isawell-chosenonewhichhasatwo-foldmeaning:firstly,itmeansavisibleappearanceofsomethingreal.Secondly,itbuildsanimageofaghostlysight,adelusiveandunexpectedappearance.20Pound'sshort"one-imagepoem"'InaStationoftheMetro'isamongthemostcelebratedImagistworks.PoundhadseenasuccessionofbeautifulfacesonedayontheParisMetro,andintheeveninghefoundsuddenlytheexpressionforhissuddenemotion.AnalysisofthePoem21

Throughthemetaphoricsuggestionofthatword,Poundfuses融合

themundaneimageof"facesinthecrowd,"withanimagepossessingvisualbeautyandtherichconnotationsofcountlesspoemsaboutspring."InaStationoftheMetro"reliesonjusttwoimages,bothpresentedinasimple,directway,plusthe

catalystofonewordwhichisnotstraightforwarddescription:"apparition."22Theheartofthepoemliesneitherintheapparitionnorinthepetals,butinthementalprocesswhichleapsfromonetotheother."Inapoemofthissort,"asPoundexplained,"oneistryingtorecordthepreciseinstantwhenathingoutwardandobjectivetransformsitself,ordartsintoathinginwardandsubjective."23pseud.H.D.,AmericanpoetMarriedtoRichardAldingtonin1913InEngland,undertheinfluenceofEzraPound,shebecameassociatedwiththeimagistsanddevelopedintooneofthemostoriginalpoetsofthegroup.VolumesofherverseincludeSeaGarden(1916),RedShoesforBronze(1931),TheWallsDoNotFall(1944),andBidMetoLive(1960).HildaDoolittle

(1886-1961)24WilliamCarlosWilliams(1883-1963)Americanpoetandphysician.Hewrotestories,playsandautobiographiesaswellaspoems.HemetandbefriendedEzraPound,andwasinfluencedbyPound.BiographicalFactsHewasborninNewJersey,U.S.1883.HereceivedhisM.D.fromtheUniversityofPennsylvania.Hesustainedhismedicalpracticethroughouthislife.HediedinVienna,Austria,1963.25TheRedWheelbarrowSomuchdependsuponaredwheelbarrowglazedwithrainwaterbesidethewhitechickens.WilliamCarlosWilliams26CarlSandburgAmericanpoet,historian,novelistandfolklorist,'thesingingbard'.Acentralfigureinthe'ChicagoRenaissance'HeemphasizedthetraditionofAmericanexperienceandplayedasignificantroleinthedevelopmentinpoetrythattookplaceduringthefirsttwodecadesofthe20thcentury.InhisworkSandburggavevoicetoleastpowerfulpeople.WiththeappearanceofhisChicagoPoems(1916),Cornhuskers(1918),SmokeandSteel(1920),andSlabsoftheSunburntWest(1922),hisreputationwasestablished(1878-1967)27TheLostGenerationWhatisit?

TheLostGenerationisatermusedtodescribeagroupofAmericanwriterswhowererebellingagainstwhatAmericahadbecomebythe1900’s.Atthispointintime,Americahadbecomeagreatplaceto,“gointosomeareaofbusiness”.However,theLostGenerationwritersfeltthatAmericawasnotsuchasuccessstorybecausethecountrywasdevoidofacosmopolitanculture.TheirsolutiontothisissuewastopackuptheirbagsandtraveltoEurope’scosmopolitancultures,suchasParisandLondon.Heretheyexpectedtofindliteraryfreedomandacosmopolitanwayoflife.Page

28Whendiditoccur?Theterm"lostgeneration"wascoinedbyGertrudeStein,alostgenerationwriterherself,afterWorldWarI.ItwasbetweenthefirstandsecondWorldWars,thatthesewritersspenttheirtimeabroad."Inthe1930's,theforcesofpoliticsandwardroveartistsbacktoAmerica."

Page

29WhywasitsignificanttoAmericanCulture?ThistemporaryemigrationofAmericantalentintocosmopolitancitiessuchasParis,issignificanttoAmericancultureintwoparts.

One,becauseitaidedinthedesireforacosmopolitanculturetobeestablishedandtoexistinAmerica.Two,becausewhenAmericanCulturebecamemoredefined,EuropeanandothercountriesbegantorecognizeadistinctiveDemocraticAmericanculture.Page

30ErnestHemingway

(1899-1961)Hemingway,thewinnerofthe1954NobelPrizeforLiterature,isoneofthemostfamousAmericannovelist,short-storywriterandessayist,whosesimpleprosestylehasinfluencedwiderangeofwriters.BriefIntroductionPage

31MainWorksThreeStoriesandTenPoems,1923InOurTime,1924TheSunAlsoRises,1926MenWithoutWomen,1927AFarewelltoArms,1929DeathInTheAfternoon,1932WinnerTakeNothing,1933TheGreenHills

ofAfrica,1935Page

32MainWorksToHave

andHaveNot,1937TheSpanishWar,1938FifthColumn,1938ForWhomtheBellTolls,1940AcrosstheRiverandIntotheTrees,1950TheOldManandtheSea,1952TwoChrismasTales,1958Page

33StyleHemingwayisknownforbriskpreciseprosestyle.Hissentencesareuncomplicatedintheirdirectconveyingofinformation.Atnotimedoesthenarratorintrudewithanyindicationofwhatthereadershouldthinkorfeelabouttheeventsdescribed.ThisstyleisareflectionofHemingway'sviewofgoodwriting.Hesaidthat"Ialwaystrytowriteontheprincipleoftheiceberg".Page

34補(bǔ)充Hemingwayavoideddescribinghischaracters’emotionsandthoughtsdirectly.Instead,inprovidingthereaderwiththerawmaterialofanexperienceandeliminatingtheauthorialviewpoint,Hemingwaymadethereadingofatextapproximatetheactualexperienceascloselyaspossible.Page

35V.IcebergTheoryIfitisanyusetoknowit,Ialwaystrytowriteontheprincipleoftheiceberg.

Thereisseven-eighthsofitunderwaterforeverypartthatshows.Anythingyouknowyoucaneliminateanditonlystrengthensyouriceberg.--InterviewinParisReviewPage

36

AFarewelltoArms(1929)ErnestHemingway’s1929novel,AFarewelltoArms,isoftenregardedashisbestartisticachievement.Itwascertainlyhisgreatestcommercialsuccesstodatewith80,000copiessoldwithinthefirstfourmonths.

Page

37補(bǔ)充Thenovelisbothafarewelltowar,whichiscondemnedaspurposelessslaughter,andafarewelltolove,whichissoshort-lived.Page

38B.CharacterAnalysis

FredericHenry,

thenovel'snarratorandprotagonist.AyoungAmericanambulancedriverintheItalianarmyduringWorldWarI,Henrymeetshismilitarydutieswithquietstoicism.Hedisplayscourageinbattle,buthisselfishmotivationsundermineallsenseofgloryandheroism,abstracttermsforwhichHenryhaslittlepatience.HislifelacksrealpassionuntilhemeetsthebeautifulCatherineBarkley.

A.PlotOverviewPage

39CatherineBarkley,

anEnglishnurse'saidewhofallsinlovewithHenry.Catherineisexceptionallybeautifulandpossesses,perhaps,themostsensuouslydescribedhairinallofliterature.Whenthenovelopens,Catherine’sgriefforherdeadfiancélaunchesherheadlong輕率的

intoaplayful,thoughreckless輕率的,gameofseduction.HerfeelingsforHenrysoonintensifyandbecomemorecomplicated,however,andsheeventuallyswearslifelongfidelitytohim.

Page

40Priest,

akind,sweet,youngmanwhoprovidesspiritualguidancetothefewsoldiersinterestedinit.Oftenthebutt笑柄

oftheofficers'jokes,thepriestrespondswithgood-naturedunderstanding.ThroughHenry'sconversationswithhimregardingthewar,thenovelchallengesabstractidealslikeglory,honor,andsacredness.Rinaldi,

asurgeonintheItalianarmy.Mischievous,wry,andoversexed,RinaldiisHenry'sclosestfriend.AlthoughRinaldiisaskilleddoctor,hisprimarypracticeisseducingbeautifulwomen.WhenHenryreturnstoGorizia,Rinalditriestowhipup激起

aconvivial歡樂的

atmosphere.Page

41C.Themea.TheGrimRealityofWar

TheattitudesofthemajorityofthecharacterstowardthewarThedescriptionsoftheconflictAmbivalence矛盾心理Thecharacters’seekingsolace慰藉

fromthewar-ravagedworldHemingway’ssuggestionPage

42b.TheRelationshipbetweenLoveandPainFalselove:temporarysolacefrompainCatherine:mourningforherdeadfiancé(distancingherselffromthepainofloss)Henry:gettingasfarawayfromthewaraspossibleTruthlove:asalveforthedamagethatthewarhasinflictedTragedy:love,evenwhengenuine,beingnevermorethantemporaryPage

43D.MotifMasculinity男子氣概:Hemingway’sconsistentthreadDomineering剛愎自用,supremelycompetent,andswaggeringly狂妄的virile強(qiáng)壯的Rinaldi:anoversexedwomanizerDr.Valentini:aboldcompetentsurgeonTheoppositesPriest:lackoflustThethreedoctors:mousy膽小的,overlycautiousPage

44E.SymbolRainapotentsymbol

Firstappearance:atendencytoruinthingsforlovers

Prophesy:doomCatherine'sdeath:validationofheranxietyandconfirmationofoneofthenovel'smaincontentions

GreatlovecannotlastPage

45F.ImportantQuotations“There,darling.Nowyou'reallcleaninsideandout.Tellme.Howmanypeoplehaveyoueverloved?”

“Nobody.”

“Notevenme?”

“Yes,you.”

“Howmanyothersreally?”

“None.”

“Howmanyhaveyou—howdoyousayit?—stayedwith?”

“None.”

“You'relyingtome.”

“Yes.”

“It'sallright.Keeprightonlyingtome.That'swhatIwantyoutodo.Weretheypretty?”

fromChapter16Page

46InfluenceoftheNovela.ThenovelestablishedErnestHemingwayastheliterarymasterofastylethatwascharacterizedbybriskassertivestaccato,orcrisppreciseprose.b.ThenovelalsogaverisetothefamousmythofHemingwayastheepitome縮影

ofAmericanmachismo大男子氣概.Page

47F.Scott.Fitzgerald48JazzAge TheJazzAgedescribesthepreiodofthe1920sand1930s,theyearsbetweenWorldWarⅠandWorldWarⅡ,particularlyinNorthAmerica;withtheriseoftheGreatDepression,thevaluesofthisagesawmuchdecline.PerhapsthemostrepresentativeliteraryworkoftheageisAmericanwriterF.ScottFitzgerald'sTheGreatGatsby,highlightingwhatsomedescribeasthedecadenceandhedonism,aswellasthegrowthofindividualism.Fitzgeraldislargelycreditedwithcoiningtheterm"TheJazzAge".49Afterturbulentyearsofschooling,Fitzgeraldjoinedthearmy.WhilestationedatCampSheridan,hemetandfellinlovewithZeldaSayre.Towinherhand,herewroteandpublishedhisfirstnovel,ThisSideofParadise,in1920.Thenovel,reflectinghisyearsatPrincetonUniversity,tellsthestoryofayoungman'squestforfulfillmentinloveandcareer.Overthecourseofthenextdecadeandahalf,whilestrugglingtocopewiththedemonsofhisalcoholismandZelda'semergingmentalillness,theFitzgeraldsenjoyedalifeofliterarycelebrity.50In1925,FitzgeraldpublishedTheGreatGatsby,consideredhisgreatestwork.Althoughitinitiallymetwithlittlecommercialsuccess,thisnovelabouttheAmericandreamofmaterialsuccesshasbecomeoneofthemostpopular,widelyread,andcriticallyacclaimedworksoffictioninAmericanliterature.Thelifeofthetitlecharacter,JayGatsby,hasbeencomparedtoFitzgerald'slife.51WhilelivingontheFrenchRiviera,Zelda'sillnessbecameserious.Shesuddenlybegantopracticeballet,dancingnightandday.Afterasecondnervousbreakdown,shewashospitalizedformentalillnessinAsheville,NorthCarolina.Duringthelastyearsofhislife,FitzgeraldlivedinHollywood,earninghislivingasascreenwriter.Hediedofaheartattackattheageof45,leavinghisfinalnovel,TheLastTycoon(aboutlifeinHollywood),onlyhalfdone.52MainWorksThisSideofParadise1920TheBeautifulandDamned1922FlappersandPhilosophers1920TalesoftheJazzAge1922TheGreatGatsby1925TenderistheNight1934TheLastTycoon1941TheCrack-Up194553MJayGatsbyTomBuchananDaisyBuchanannéeFayNickCarrawayGeorgeB.WilsonMyrtleWilsonMainChractersMFMMMF541.Whowasdescribedas"madman"afterGatsby'sdeath?2.DidGatsby'sfriendWolfsheimplantoattendhisfuneral?3.WhatdidGatsby'sfatherproudlyshowtoNick?55

IcalledupDaisyhalfanhourafterwefoundhim,calledherinstinctivelyandwithouthesitation.Butsheand

Tom

hadgoneawayearlythatafternoon,andtakenbaggagewiththem."Leftnoaddress?""No.""Saywhenthey'dbeback?""No.""Anyideawheretheyare?HowIcouldreachthem?""Idon'tknow.Can'tsay."Iwantedtogetsomebodyforhim.Iwantedtogointotheroomwherehelayandreassurehim:"I'llgetsomebodyforyou,Gatsby.Don'tworry.JusttrustmeandI'llgetsomebodyforyou—"56 NextmorningIsentthebutlertoNewYorkwithalettertoWolfshiem,whichaskedforinformationandurgedhimtocomeoutonthenexttrain.ThatrequestseemedsuperfluouswhenIwroteit.Iwassurehe'dstartwhenhesurethere'dbeawirefromDaisybeforenoon—butneitherawirenorMr.Wolfshiemarrived;noonearrivedexceptmorepoliceandphotographerbroughtbackWolfshiem'sanswerIbegantohaveafeelingofdefiance,ofscornfulsolidaritybetweenGatsbyandmeagainstthemall.57 DEARMR.CARRAWAY.ThishasbeenoneofthemostterribleshocksofmylifetomeIhardlycanbelieveitthatitistrueatall.Suchamadactasthatmandidshouldmakeusallthink.IcannotcomedownnowasIamtiedupinsomeveryimportantbusinessandcannotgetmixedupinthisthingnow.IfthereisanythingIcandoalittlelaterletmeknowinaletterbyEdgar.IhardlyknowwhereIamwhenIhearaboutathinglikethisandamcompletelyknockeddownandout.YourstrulyMEYERWOLFSHIEM58Risefrombed……6.00A.M.Dumbbellexerciseandwall-scaling…………6.15-6.30..Studyelectricity,etc…………7.15-8.15..Work………8.30-4.30P.M.Baseballandsports…………4.30-5.00..Practiceelocution,poiseandhowtoattainit..5.00-6.00..Studyneededinventions……7.00-9.00..GENERALRESOLVESNowastingtimeatShaftersor[aname,indecipherable]NomoresmokeingorchewingBatheveryotherdayReadoneimprovingbookormagazineperweekSave$5.00{crossedout}$3.00perweekBebettertoparents59 "Itoldhimthetruth,"hesaid."Hecametothedoorwhileweweregettingreadytoleave,andwhenIsentdownwordthatweweren'tinhetriedtoforcehiswayup-stairs.HewascrazyenoughtokillmeifIhadn'ttoldhimwhoownedthecar.Hishandwasonarevolverinhispocketeveryminutehewasinthehouse—"Hebrokeoffdefiantly."WhatifIdidtellhim?Thatfellowhaditcomingtohim.HethrewdustintoyoureyesjustlikehedidinDaisy's,buthewasatoughone.HeranoverMyrtlelikeyou'drunoveradogandneverevenstoppedhiscar."TherewasnothingIcouldsay,excepttheoneunutterablefactthatitwasn'ttrue.601.DoyouthinkGatsbydeservestobecalled"thegreat"?Why?2.WhatdoesGatsby'sSchedulerevealabouthimandhowdoesitrelatetotheAmericanDream?61JohnSteinbeck62SocialBackgroundaperiodofeconomicdisasterandphysicalwastelandTheGreatDepression1929theparadoxinthecapitalsystemwiththeresultofpeople'sdoubtaboutit63MajorFeaturesof1930s'Literaturecontentsocialinvolvementandconcernaboutthesocietytechniquetherevivalofnaturalismandrealisminadditiontotheinfluenceofmodernism64JohnErnstSteinbeck,Jr.(1902-1968)Americannovelist,playwright,andessayistBornon27thFebruary,1902,inSalinas,CaliforniaHestudiedmarinebiologyatStanfordUniversity65"forhisrealisticandimaginativewritings,combiningastheydosympethetichumourandkeensocialperception"theNobelPrizeinLiterature,196266MajorWorksTortillaFlat(1935)InDubiousBattle(1936)OfMiceandMen(1937)TheGrapesofWrath(1939)TheMoonIsDown(1942)ThePearl(1947)EastofEden(1952)TheWinterofOurDiscontent(1961)67BackgroundoftheStoryDuringtheearly1930s,aseveredropledtomassiveagriculturalfailureinthepartsofthesouthernGreatPlains,particularlythroughoutwesternOklahomaandtheTexaspanhandle.Withoutanyrealemploymentprospects,thousandsoffamiliesnonethelesstraveledtoCaliforniainthehopesoffindingnewmeansofsurvival.ButthefarmcountryofCaliforniaquicklybecameovercrowdedwiththemigrantworkers.68SetduringtheGreatDepression,thenovelfocusesonapoorfamilyofsharecoppers,theJoads,drivenfromtheirhomebydrought,economichardship,andchangesintheagricultureindustry.Inanearlyhopelesssituation,theysetoutforCalifornia'sCentralValley,alongwithother"Okies"insearchofland,jobsanddignity.TheGrapesofWrath69TheGrapesofWrathAportraitofthebitterconflictbetweenthepowerfulandthepowerless,ofoneman'sfiercereactiontoinjustice,andofawoman'squiet,socialstrength.TheGrapesofWrathisalandmarkofAmericanliterature,onethatcapturesthehorrorsoftheGreatDepressionasitprobesintotheverynatureofequalityandjusticeinAmerica.70CharactersMaJoadPaJoadTomJoadNoahJoadGrampaJoadGranmaJoadRoseofSharonConnieJimCasyAlJoadIvyandSairyWilson71MaJoadThemotheroftheJoadfamily.Maisintroducedasawomanwhoknowinglyandgladlyfulfillsherroleas“thecitadelofthefamily.”Sheisthehealerofthefamily’sillsandthearbiterofitsarguments,andherabilitytoperformthesetasksgrowsasthenovelprogresses.72PaJoadMaJoad’shusbandandTom’sfather.PaJoadisanOklahomatenantfarmerwhohasbeenevictedfromhisfarm.Aplainspoken,good-heartedman,PadirectstheefforttotakethefamilytoCalifornia.Oncethere,unabletofindworkandincreasinglydesperate,PafindshimselflookingtoMaJoadforstrengthandleadership,thoughhesometimesfeelsashamedofhisweakerposition.73TomJoadThenovel’sprotagonist,andMaandPaJoad’sfavoriteson.Tomisgood-naturedandthoughtfulandmakesdowithwhatlifehandshim.Eventhoughhekilledamanandhasbeenseparatedfromhisfamilyforfouryears,hedoesnotwastehistimewithregrets.Helivesfullyforthepresentmoment,whichenableshimtobeagreatsourceofvitalityfortheJoadfamily.Awiseguideandfierceprotector,Tomexhibitsamoralcertaintythroughoutthenovelthatimbueshimwithstrengthandresolve:heearnstheawedrespectofhisfamilymembersaswellastheworkershelaterorganizesintounions.74RoseofSharonTheoldestofMaandPaJoad’sdaughters,andConnie’swife.Animpractical,petulant,andromanticyoungwoman,RoseofSharonbeginsthejourneytoCaliforniapregnantwithherfirstchild.SheandConniehavegrandnotionsofmakingalifeforthemselvesinacity.TheharshrealitiesofmigrantlifesoondisabuseRoseofSharonoftheseideas,however.Herhusbandabandonsher,andherchildisborndead.Bytheendofthenovel,shematuresconsiderably,andpossesses,thereaderlearnswithsurprise,somethingofhermother’sindomitablespiritandgrace.75JimCasyAformerpreacherwhogaveuphisministryoutofabeliefthatallhumanexperienceisholy.Oftenthemoralvoiceofthenovel,Casyarticulatesmanyofitsmostimportantthemes,amongthemthesanctityofthepeopleandtheessentialunityofallmankind.AstaunchfriendofTomJoad,CasygoestoprisoninTom’ssteadforafightthateruptsbetweenlaborersandtheCaliforniapolice.Heemergesadeterminedorganizerofthemigrantworkers.76ThemesTheSavingPowerofFamilyandFellowshipMan’sInhumanitytoManTheDignityofWrathTheMultiplyingEffectsofSelfishnessandAltruism77TheSavingPowerofFamilyandFellowshipTheGrapesofWrathchroniclesthestoryoftwo“families”:theJoadsandthecollectivebodyofmigrantworkers.AlthoughtheJoadsarejoinedbyblood,thetextarguesthatitisnottheirgeneticsbuttheirloyaltyandcommitmenttooneanot