캐서린 맨스필드의 「희열」과 존 스타인벡의 「국화」: 억압된 욕망과 좌절된 여성 정체성

Abstract

Both “Bliss” and “The Chrysanthemums” examine the psychology and sexuality of the self-repressive female characters who must somehow express themselves meaningfully. One of themes of their stories is frustration stemming from the protagonist's unfulfilled desire. Bertha embodies “a rare, rare fiddle shut up in a case” in “Bliss,” and Elisa is portrayed as the great valley like “a closed pot” in “The Chrysanthemums.” These two images, starting points of my contention, are remarkably insightful portraits which represent the repression of womanhood. While on the surface the stories outline the happiness of two housewives, their covert subtexts center on female protagonists’ personal muddle and psychological confusion. The significance of the pear tree and chrysanthemums as the central symbols must be analyzed for their implications for the character of Bertha and Elisa. As these central symbols serve as the medium to Fulton and the tinker, the overt sexual nuances are undeniable. The animal image of the story needs to be to explained because several associations between animals and characters are part of a larger pattern in each story. While Mansfield puts the animal motif in her story into animalistic desire and sensuality, all animals in Steinbeck's story are oppressed, trapped, much as is Elisa's case. There are similar sexual climaxes between in “Bliss” and “The Chrysanthemums.” It seems likely that looking at the blooming pear tree, Bertha and Fulton are linked by what they have shared. Bertha's bliss and her feelings toward Fulton seem to be erotic. Likewise, Elisa's passionate speech to the tinker, which seems to relate planting instincts to sexual awareness, is counted as sexual climax. Elisa believes the tinker also share her feeling of bliss. At the end of each story, Bertha and Elisa are jolted from their complacent life; their blissful satisfaction with Fulton and tinker are shattered. On the threshold of initiatory awareness, they are awakened to ugly human duplicity, entering an adult realm of experience.