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Grapes of Wrath AP Language and Composition Critical Analysis...

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The Grapes of Wrath Critical Analysis Guide Title of the work: The Grapes of Wrath Author: John Steinbeck Publication Date: 1939 Format: PDF file _________________________________________________________________

Character Choose quotations that reveal complexities in the character, develop a relationship between characters, show how the character fits an archetype, or indicate a change in that character. Aim for 2 entries each for Tom, Casy, Pa, Ma, and Rose of Sharon. Chapter, Page #, Speaker if applicable

Quotation

Commentary explain how the selected lines function within the big idea you've selected; elaborate on the purpose and effect

Chapter 2, Page 7-8, Tom

"Now don't get sore. I just like to notice things. Makes the time pass." "I'll tell you anything. Name's Joad, Tom Joad. Old man is ol' Tom Joad." His eyes rested broodingly on the driver. "Don't get sore. I didn't mean nothin'." "I don't mean nothin' neither," said Joad. "I'm just tryin' to get along without shovin' nobody around."

The selected lines contribute to characterizing Tom Joad as an honest person. The interaction in this excerpt shows that Tom is ready to share things about himself, and that he values peace. This contributes to his leadership and role as a protector in the family.

Chapter 28, Page 289, Tom

Then it don' matter. Then I'll be all aroun' in the dark. I'll be ever'where —wherever you look. Wherever they's a fight so hungry people can eat, I'll be there. Wherever they's a cop beatin' up a guy, I'll be there.

In these lines, Tom shows true leadership and protection by stating that he will always “be there”. He confirms the idea that he is a protector, for he is loyal and is not afraid to commit to those he loves.

Chapter 4, Page 14, Casy

"I was a preacher," said the man seriously. "Reverend Jim Casy— was a Burning Busher. Used to howl out the name of Jesus to glory. And used to get an irrigation ditch so squirmin' full of repented sinners half of 'em like to drowned. But not no more," he sighed. "Jus Jim Casy now. Ain't got the call no

These lines serve as an introduction to Jim Casey. He is portrayed as a former preacher who is aware of the lack in religious beliefs among the people, making him cynical but still caring. This characterizes him as somewhat of a mentor for

more. Got a lot of sinful idears—but he is wise and conscious of human tendencies. they seem kinda sensible." Chapter 28, Page Says one time he went out in the 288, Tom about Casy wilderness to find his own soul, an' he foun' he didn' have no soul that was his'n. Says he foun' he jus' got a little piece of a great big soul. Says a wilderness ain't no good, 'cause his little piece of a soul wasn't no good 'less it was with the rest, an' was whole.

This excerpt is from the perspective of another character about Casy, revealing how others viewed him. Casy sacrificed himself to protect others, and here, Tom views him as a role model and good example.

Chapter 13, Page 93, "We done it clean," said Pa. "There Pa can't no blame be laid on us. We never took nothin' we couldn' pay; we never suffered no man's charity. When Tom here got in trouble we could hold up our heads. He only done what any man would a done."

Pa is introduced as a stronger character, manly and brave. Because he is the father of the family, a bit of patriarchy and misogyny comes with his character.

Chapter 30, Page 310, Pa

"We're a-gettin' outa here," she said savagely, "gettin' to higher groun'. An' you're comin' or you ain't comin', but I'm takin' Rosasharn an' the little fellas outa here." "We can't!" Pa said weakly

In the end, Pa proves to be less strong, and becomes dependent on comfort. He is meeker and Ma becomes a full matriarch by the end.

Chapter 8, Page 49, Ma

She seemed to know, to accept, to welcome her position, the citadel of the family, the strong place that could not be taken.

Ma was always described as the authoritative position, taking the role of leadership and caring for the rest of the family.

Chapter 22, Page 210, Ma

"We're Joads. We don't look up to nobody. Grampa's grampa, he fit in the Revolution. We was farm people till the debt. And then— them people. They done somepin to us. Ever' time they come seemed like they was a-whippin' me—all of us. An' in Needles, that police. He done somepin to me, made me feel mean. Made me feel ashamed. An' now I ain't ashamed.

In this excerpt, ma conveys strength in not only her, but in the rest of the family. She also reveals pride in her own character. Through this dialogue, it also shows that she values kindness and it had refreshed her after being so worn out from the hardships of the journey throughout the novel.

Chapter 10, Page 64, Her whole thought and action were directed inward on the baby. She about Rose of balanced on her toes now, for the Sharon baby's sake. And the world was pregnant to her; she thought only in terms of reproduction and of motherhood.

Rose of Sharon is shown to be caring right off the bat. She had been pregnant for most of the novel, and this excerpt characterizes her as a gentle motherly figure.

Chapter 30, Page 313, Rose of Sharon

After her child had been born stillborn, she felt despair, but this ending showed that Rose of

Her hand moved behind his head and supported it. Her fingers moved gently in his hair. She

looked up and across the barn, and Sharon was strong and her lips came together and smiled could overcome devastating situations in mysteriously. order to care for others.

Setting Choose quotations that reveal the setting, show the relationship between setting and character, or portray the setting functioning as an archetype or symbol. Aim for 5 entries that span the entire length of the novel. Chapter, Page #, Speaker if applicable

Quotation

Commentary

Chapter 1, Page 4

The dawn came, but no day. In the gray sky a red sun appeared, a dim red circle that gave a little light, like dusk; and as that day advanced, the dusk slipped back toward darkness, and the wind cried and whimpered over the fallen corn. Men and women huddled in their houses, and they tied handkerchiefs over their noses when they went out, and wore goggles to protect their eyes.

This is the opening scene, creating a setting that foreshadows the dark mood of the story, as well as providing ambiguity in the outcome of the novel.

Chapter 7, Page 41 IN THE TOWNS ON the edges of the towns, in fields, in vacant lots, the used-car yards, the wreckers' yards, the garages with blazoned signs—Used Cars, Good Used Cars. Cheap transportation, three trailers. '27 Ford, clean. Checked cars, guaranteed cars. Free radio. Car with 100 gallons of gas free. Come in and look. Used Cars. No overhead.

This setting is located in a vignette, showing the nature of salesmen of the time. These men sold cars with flaws and ripped off the settlers that bought them, which reflects the author’s message about the corruption that occurred during this time.

Chapter 18, Page 135

THE JOAD FAMILY MOVED slowly westward, up into the mountains of New Mexico, past the pinnacles and pyramids of the upland. They climbed into the high country of Arizona, and through a gap they looked down on the Painted Desert. A border guard stopped them.

This setting serves as a transition and movement of the family, and begins a new chapter of their journey. It reflects their difficulties and the distance they had to travel, which conveys the hardships of the Okies at the time.

Chapter 26, Page 247

The truck edged slowly over the big hump and into the road. Tom retraced the road he had driven before, past Weedpatch and west until he came to 99, then north on the great paved road, toward

These lines describe a specific location and road during the story. This location contributes as one of the areas that the Joads settled in.

Bakersfield. It was growing light when he came into the outskirts of the city. Chapter 27, Page 280

The cars move to the cotton fields. The cotton camps set up. The screened high trucks and trailers are piled high with white fluff. Cotton clings to the fence wires, and cotton rolls in little balls along the road when the wind blows. And clean white cotton, going to the gin. And the big, lumpy bales standing, going to the compress. And cotton clinging to your clothes and stuck to your whiskers. Blow your nose, there's cotton in your nose.

The cotton fields played a large role in the Joads’ journey. It provided labor but also restricted them for the new situation and area were strange to them as they continued to be evermoving.

Figurative Language Choose quotations that contain diction that contributes to tone, conveys recurring symbols and imagery that contribute to the larger meaning of the work, and uses simile, metaphor, personification, and allusion for particular effects. Aim for one entry for each of the following:

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Diction Tone shift Symbol Imagery Figurative Language

Chapter, Page #, Speaker if applicable

Quotation

Chapter 2, Page 5 the flies roared softly at the screen door

Commentary

Figurative Language Flies roaring is contradictory, and although it appears to be an insignificant juxtaposition, but it may convey how although the Joads seemed small, their journey was large to them and ultimately their story became a big deal that effectively communicated what the author claimed.

Chapter 8, Page 49

Ma was heavy, but not fat; thick with child-bearing and work...Her thin, steel-gray hair was gathered in a sparse wispy knot at the back of her head. Strong, freckled arms were

Imagery This piece of imagery contributes to Ma’s nature of being worn out but also strong. It also introduces her

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.

as a strong yet weak character, godly yet human. These themes serve as characterization for Ma Joad.

Chapter 13, Page And as she held up her hand, her 87 eyes fell upon the dead dog beside the road... The twittering call of a raccoon sounded near the irrigation ditch and, very far away, the angry howl of a tied dog.

Symbolism

Chapter 3, Page 11

Tone shift

And over the grass at the roadside a land turtle crawled, turning aside for nothing, dragging his high-domed shell over the grass: His hard legs and yellow-nailed feet threshed slowly through the grass, not really walking, but boosting and dragging his shell along.

Chapter 27, Page How 'bout him? His scales is fixed. 280 Sometimes he's right, you got rocks in the sack. Sometimes you're right, the scales is crooked. Sometimes both; rocks an' crooked scales. Always argue, always fight. Keeps your head up. An' his head up. What's a few rocks? Jus' one, maybe. Quarter pound? Always argue.

The dog is a symbol for the Joads and other Okies as well, being constantly oppressed and discouraged during their journey.

The turtle is a metaphor for the Okies, strong and resistant. However, they are also weak in a way that they seem insignificant and are easily oppressed. Diction The author consistently uses stylistic diction in order to convey the nature of the Okies and the Joads, showing that they are not sophisticated in speech and they differentiate from other people from different states. It also creates a more informal and familiar mood to the story, since it is personal to the Joads....