Authors often use religious allusions to further the meaning of a novel. It is when the reader recognizes and understands these influences that the novel's importance can be truly understood. In The Grapes of Wrath by John Steinbeck, Steinbeck uses numerous Christian references to delve into the underlying meaning of his novel. Steinbeck's use of complex methods to portray Casy as a Christ figure, Tom Joad as a disciple, the family as a larger "family" of humanity, and that of the Joads as Israelites facilitates the novel's Christian influence . Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay Initially, Steinbeck views the character played by Jim Casy as a Christ-like figure. Jim Casy travels with the Joad family on an expedition from Oklahoma to California. Casy, a former minister who abandoned his former Christian beliefs, now strictly practices abstinence. “Casy's new 'religion' is based on love and faith in each person's soul as well as in an all-encompassing soul, the 'Holy Spirit' of humanity” (Stanley Ed. 107). Jim Casy's initials, JC, also serve as confirmation of his character's function as a symbol of Jesus Christ. Casy's actions also correspond to those of Christ: he is first introduced in the novel after having escaped society by fleeing into the desert for a period of solitude and reflection. This isolation parallels Christ's withdrawal from the world before beginning his mission to convert society. Furthermore, Casy accepts the deputy's beatings and receives punishment for Tom's actions. Jim's selfless fight inevitably positions him as a leader in the fight against oppression. His life is sacrificed for his selfless actions and his last words resemble those of Christ in his final hours: "You guys don't know what you're doing" (Stanley Ed. 107). Casy's actions indirectly convince Tom Joad to follow him down the same altruistic path. Casy's individual identity is a true expression of a greater self, although this self-realization causes him to be condemned by society, and is also the reason for his crucifixion. Steinbeck's novel also resembles the New Testament in its language and imagery, and in the ways it describes principles. Jim Casy's teachings, along with his selflessness, recall the wisdom of Christ and his crucifixion. This perspective furthers the similarities between the twelve Joads and the twelve apostles. Connie represents the Judas figure who abandons his family for money. Although the Judeo-Christian allusions are extremely compelling, the novel is not an exercise in sainthood. At the beginning of the novel, Steinbeck conveys a decidedly anti-religious mood, which is clarified when Casy clarifies why he walked away from his ministry. Furthermore, those who preach about sin and damnation in migrant camps are regarded with contempt (Stanley Ed. 107,113,118). Jesus began his mission after an isolation retreat in the desert for a period of reflection and sanctification. He enters the novel after Christ's similar retreat and informs Tom that he "went away alone, and I sat and thought" (Shockley 267). Later, as Tom converges with Casy in the protester's tent, Casy reveals that he "went into the wilderness like Jesus to try to discover the sumpin" (Shockley 267). Steinbeck is undoubtedly aware of this parallel. Furthermore, just like Jesus Christ, Casy has abandoned an outdated religion and is currently in the process of replacing it with a contemporary gospel. In the opening scene, Jim and Tom reminisce about times gone by, when Casysupported the ancient religion, thus illustrating the earlier concept of transgression and guilt. Currently, however, Casy explains his denunciation of a religion that he felt had corrupted him with its emphasis on natural human desires. The Adam of the Fall approaches exorcism through these new indulgences (Shockley 267). Tom Joad is cast as the disciple of the Christ figure, Jim Casy. Steinbeck's compelling touch is shown when Tom expresses his desire for the role of Casy. With this catharsis, John Steinbeck introduces allegory; he doesn't succumb to his inflexible eminence, because Tom, in essence, is nothing like Casy. Tom Joad is much more sadistic, much more full of anger. Having been tutored by Casy, however, Tom may ultimately prove even more triumphant as a realistic missionary. It may be noted that if Casy symbolizes Christ, Tom should be identified with Saint Paul, the practical and stern organizer. The metaphorical connection through which Tom transforms and learns to take responsibility is deeply realized and rich in importance. The importance is not simply justified as a technical inevitability, but because it is evidence of Casy's truthfulness as a man and teacher. The parallels with St. Paul would be mere technical details if they were not felt so keenly (Levent 104). After Casy's brutal death, Tom takes on the responsibility of playing the role of Casy's disciple. Tom was educated by his mentor and now takes on his responsibilities. Two of Christ's disciples were named Thomas, and many of Christ's selected disciples came from individuals very similar to the Joads. But Joad asks Tom what would happen if he lost his life, and he answers in the way Casy taught him: "Then it doesn't matter. Then I'll be all in the dark. I'll always be 'where... wherever you look.' Wherever there's a fight so people can eat, I'll be there. Wherever there's a cop beating up a guy, I'll be there. If Casy knew, I'd be there kids laugh when they're hungry and know dinner's ready. And when our people eat the things they raise and live in the houses they build, because I'll be there, see? Casy." (Shockley 269) Steinbeck uses the Joad family to symbolize something much larger. The Joads encounter numerous adversities, hardships, and victims, and toward the end of the story they almost cease to exist. Nonetheless, the tone of the novel is lively. This encouraging feeling comes from the “growth of the Joad family as they begin to realize a larger group consciousness” (Stanley Ed. 110) The maturity of this theme is seen especially in Ma Joad, starting with her desire to keep the family together . But he exclaims in the last chapter: "Using the family was first. That's not the case now. It's anyone. The worse we are, the more we have to do" (Stanley Ed. 110). The main symbol in Steinbeck's work is the family, which stands for "the greatest 'family' of humanity" (Stanley Ed. 113). The Joads are at the heart of the novel's powerful characteristics; however, they exemplify human vigor and frailty. The dangers present in nature and human civilization endanger the family, which must endure financial and environmental disasters, just as all humanity must. Towards the end of the novel, the Joads begin to understand that they are members of a larger family. The land is a representation of individual particularity; what the Joad family suffers when they lose their home farm is a loss of identity, which they try to recover during their expedition and in California Joad, in particular, loses his strength after the Joads are "taken away" from his family's land (Stanley Ed. 113). family in Ma (Stanley Ed. 110, 113). The symbol of the family as the largest family of humanity yes, 1999.