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Mary Jane AuchA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
In addition to being part of the title, the word “rose” appears many times in this story, and in multiple contexts. From the protagonist’s perspective, the name represents her fresh start in America, for she deliberately alters her name from “Margaret Rose” to “Rose” when she arrives on Ellis Island. As she states, she is “assertin’ [her] new American independence” by claiming “a more unusual name” (30). By choosing her name, she is preparing herself for choosing her own path. However, her new name soon becomes a point of humor in the paper-flower shop when Mr. Moscovitz smirks, “A rose-maker named Rose” (74). While Rose is literally making roses, the scene can also be interpreted as her attempt to remake herself. This job is her first step toward becoming Rose, the responsible adult: someone who makes money to care for herself and her family.
Roses are given deeper significance when the author reveals that the protagonist’s most prized possession is a dress of “silk taffeta in a new color called ‘ashes of roses’” (52). On one hand, the dress represents the fact that something lowly can be made grand by the application of skill. On a darker note, however, the name of the fabric invokes ominous images of death, especially on the day of the factory fire, when Rose witnesses the deaths of her friends Bellini and Klein, who were also named “Rose.” Although Rose’s name is that of a living, beautiful thing, and although she feels pretty when she wears the “ashes of roses” dress, the name of the color suggests death, and the climax of the novel confirms this impression.
There are also two other minor references to roses. Rose Klein wears red roses from a street vendor on her hat to match her suit. Klein, in some ways, is the antithesis of Gussie. Whereas Gussie is serious, practical, and hardworking, Klein is stylish and likes fun and frivolity. Her roses represent frivolity, a frivolous expense on something unnecessary. Gussie’s attire is largely unadorned. When Rose walks home with Klein and Bellini, they sing the popular tune “My Wild Irish Rose.” Though it’s a happy occasion for the girls, the lyrics of the song suggest sorrow, as it’s a song “Of a flower that’s now drooped and dead” (Olcott, Chauncey. “My Wild Irish Rose.” Bells Irish Lyrics).
The question of workers’ rights and the violations against them runs throughout the book, and this was a very important issue in the early 1900s. In many ways, Rose’s search for employment allows the author to highlight many different aspects of this ongoing struggle. When Rose naïvely takes the job making paper flowers, she fails to ask how much she will make or what her hours will be. She enters into the work agreement with the idea that any money she makes will be good. Therefore, Mr. Moscovitz is easily able to cheat her. Similarly, she is ignorant of the dangers that Mr. Moscovitz himself represents, even when Tessa tries to warn her not to let him touch her. Rose doesn’t fully grasp Tessa’s warning until she Moscovitz later sexually assaults her. The issue of workers’ rights is brought explicitly to the fore when Gussie hears about this incident and goads Rose into standing up for her rights. This proves to be an important lesson for the protagonist, for as Gussie states, “’We fought so hard for our rights, but the owners of these shops don’t care. They just do as they please, and nobody stops them’” (138). She wants Rose and others to be vigilant about labor issues and not settle for just getting by in poor conditions, as workers’ meekness allows bad employers to get away with poor treatment. When Rose says she would never be brave enough to go on strike as Gussie has done, Gussie points out, “One person might not have the courage, Rose, but when there are hundreds, it’s not so hard” (139).
However, Gussie’s activism is not just a sociohistorical detail; her complaints also serve as foreshadowing of the disaster to come, especially when she details the various violations that the factory owners have perpetrated. As she states, “The law says there has to be two hundred and fifty cubic feet of space for each worker. […] They have the right number of cubic feet for each of us, but it’s all above our heads. What good is that? We’re jammed in hip to hip at the floor level’” (181-182). Rose brushes these concerns off, but even she concedes that the anti-theft checks that slow down exits are pointless. Gussie is trying to make the Triangle a union-compliant shop by enrolling workers in the union, but many do not see the importance of her work until after the fire. At the end of the story, Rose vows to work only in union shops. The fire has also ignited an anger in her, which becomes evident when she declares, “Moscovitz might have cheated his girls out of a few dollars and stolen a few kisses, but the owners of the Triangle stole the lives of one hundred forty-six people” (245). She has learned a vital lesson about not letting immediate and individual concerns overshadow the need to ensure the broader well-being and safety of all workers.
Before Rose and her family ever officially enter the United States, they hear about the limitations, either perceived or actual, of women on their own, and this motif runs through the story. It first becomes apparent when an Ellis Island clerk tells them, “You can’t support a family on the pittance one woman can bring in with her sewing” (28), and the injustice is further reinforced when a guard states, “An unescorted woman is not allowed to leave Ellis Island unless her relatives come for her” (33). These assertions reveal the common belief that women are fragile or incapable of handling difficulties, and they also imply an understanding that the world does not treat women fairly. Uncle Patrick also voices his worries that the newly arrived Nolan women will be incapable of surviving there. As he tells Elsa, “This city isn’t a good place for a woman to be on her own. If the oldest was a boy, that might help. At least Margaret would have a man to protect her. But not a woman with three girls. They’d be fair game for every con man in New York” (63). Ironically, when Rose and Maureen look for a room to rent, many places deny them shelter because they are not male, either believing that the girls will not be able to pay rent or that they would need protection that the landlords are unable to provide.
The working world soon reveals further unfairness, for although Elsa declares that “sweatshops [are] no place for a decent girl to work” (111), women fill the majority of the positions at most sweatshops, including the Triangle Shirtwaist Factory.Rose and Gussie, however, serve as symbols that contradict the messages about women that they receive. Both are responsible for providing for their family members. Both need to be bold and headstrong, and both work hard to keep their family afloat. However, Gussie’s father has a hard time acknowledging how the father-daughter roles have changed. He tells her, “You need someone strong for a husband. Someone to support you” (153), but she is actually supporting him. As a union organizer, Gussie takes it upon herself to fight for better conditions for everybody. These are not the fragile women of the stereotype but strong people who are able to change the world, one person at a time.
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