Hurston’s juxtaposition of the dreams of men in contrast to the dreams of women is signified by the movement from concrete imagery to abstractions. She describes men’s dreams as cargo on a ship which is at the mercy of the tide, while women’s dreams are likened to memory, which can be controlled. Her deliberate choice to contrast the way that men and women dream affects the reader by immediately raising the issue of the differences of perception between the two genders. The purpose of this comparison is to immediately prompt the reader to realize a fundamental difference between men and women by using imagery they can relate to. The difference is also one of the novels thematic concerns: women are proud and defiant, they can control their wills and chase their dreams while men never really reach for their dreams. This is symbolized by men’s dreams on a ship; dreams for men either come to them or leave them, like a ship. A ship is …show more content…
something that is difficult to chase down and obtain for the average man, which represents the difficulty men face when they try to chase their dream. In contrast, Hurston believes women achieve their dreams by choice. This is represented by memory symbolizing women’s dreams, memory is something that is controllable. As the novel unfolds, Janie acts according to this notion, battling and struggling in the direction of her dreams. The purpose of this quote is to show that many young women of this time period did not have the freedom to make many choices about their life. For example, Nanny, Janie’s grandmother, lived through slavery and had a child, Janie’s mother, by her white master. Nanny herself was unmarried, but sexually dominated by a man, and the same happened to her daughter. As a result, Nanny has high hopes that Janie will marry and be a legitimate wife. This end goal seems to be the most important objective for Nanny, and in her quest to get Janie married to a suitable man, Nanny turns a blind eye to Janie’s needs for love and affection. Having lived under slavery, Nanny’s conception of freedom is one of wealth and idleness. Like most African-American women of her time, she romanticizes the position of white women and aspires to it; when she cannot achieve this goal in her lifetime, she imposes it on Janie by making her marry a respected land-owning black farmer, who Janie does not love. In other words, Janie does not get to choose who she marries. This quote from the passage is intended to show how after slavery was abolished, the older generations imposed their idea of an ideal, relaxing life on the younger generations and women did not have much of a voice even when it came to their own life. This passage could also represent how Hurston felt others were telling her to live her life like Nanny did for Janie. In conclusion, this quote is intended to demonstrate to the reader that young women did not have a lot of freedom to make decisions in their lives. Hurston’s use of language and diction parallels Janie’s quest to find her voice.
In this quote, Jody stifles Janie’s speech and prevents her from speaking and having a mind of her own. In this quote, we can see Jody’s interruption with the dash Hurston uses to represent him preventing Janie from talking and being an active part of the conversation. To Jody, Janie is his possession and does not need to hear her opinion. Jody also treats Janie like his employee. In this passage the reader can infer from her diction that Janie does not want to work at the store when Jody is not around. As a result, when Jody leaves the store, Janie feels helpless. Janie’s hatred of him stems from this suppression of her individuality. Tea Cake, on the other hand, engages her speech, conversing with her and putting himself on equal terms with her. Janie’s diction changes when she is with Tea Cake, she is no longer interrupted or stutters. This use of diction is intended to show that Janie feels helpless in her current marriage and is
unheard. Hurston’s use of figurative language creates a vivid image for the reader while revealing Jody has animalistic characteristics. This is because the words “crawl off” are similar to how an animal would retreat. Also, “lick his wounds” resembles an animal characteristic more than a human. This metaphor represents how Janie sees Jody as a barbaric animal more than a husband. Hurston continues to use animal characteristic to describe Jody such as feathers to strengthen the connection between Joe and an animal. By using words that typically describe animals such as feathers Hurston is able to give Jody an animalistic appearance. This use of language helps the reader see Jody as Janie does. Hurston chooses to have Janie see Jody as animal because of his hunger for power. When Jody arrived in Eatonville he became the self-proclaimed mayor, this resembles an animals desire to be the alpha of the pack. In addition, he is very sexist and controlling of Janie to establish his dominance (like an animal would). In conclusion, the intended effect of the figurative language is to deepen the readers understanding of Jody while using vivid imagery. The intended effect of the syntax in this sentence is for the reader to understand that during this period of time gender inequality was present in all classes. Tea Cake is Janie’s third husband and first real love. We can see from the syntax and his pattern of speech that he is from a lower class than Janie and her previous husbands, yet even he shows signs of sexism throughout the novel. For example, even though Tea Cake tries to treat men and women equally, he still unconsciously considers women weaker than men. He assumes they require men to escort them back home safely. He calls Janie a "lil girl wid her Easter dress on," somewhat diminishing her image and seriousness. The syntax here shows that Tea Cake has a sexist attitude towards Janie. This is relevant because at this point in the novel we have seen Janie in three different marriages, with three different men, all of which had different social statuses. Through the use of syntax the reader can see that even Tea Cake who is from different means than Logan and Jody has been exposed to sexism. Therefore, Hurston uses syntax to show that all classes of people during this time valued women less than men.
Janie does so by choosing her new found love with Joe of the security that Logan provides. Hurston demonstrates Janie's new found ‘independence’ by the immediate marriage of Joe and Janie. Janie mistakenly chooses the pursuit of love over her pursuit of happiness and by doing so gave her independence to Joe, a man who believes a woman is a mere object; a doll. By choosing love over her own happiness Janie silences her voice. The realization of Janie's new reality is first realized when Joe states, “...nah wife don’t know nothin’ ‘bout no speech-makin’. Ah never married her for nothin’ lak dat. She’s uh woman and her place is in de home()" Joe is undermining Janie, cutting short any chance for Janie to make herself heard. Joe continues to hide Janie away from society keeping her dependent and voiceless. As Janie matures, she continues to be submissive to her husband, “He wanted her submission and he’d keep on fighting until he felt he had it. So gradually, she pressed her teeth together and learned to hush (71).” Though Janie ‘learned to hush’, and suppress herself, Janie still urges for her voice. When the opportunity came for Janie to reclaim her voice, "But Ah ain’t goin’ outa here and Ah ain’t gointuh hush. Naw, you gointuh listen tuh me one time befo’ you die. Have yo’ way all yo’ life, trample and mash down and then die ruther than tuh let yo’self heah ‘bout
Hurston uses ethos to show that Tea Cake was Janie’s best husband even though society thinks other wise. Tea Cake thinks that he will treat and show Janie a better time in life than any man has ever did. “Ah tell you lak you told me--you’se mighty hard tuh satisfy. Ah betcha dem lips don't satisfy yuh neither(page.103).” Tea Cake was telling Janie that she put on the show that she is hard to please but truly it only takes the right things to make her pleased. He felt that most of the things that Janie was doing was a show. Society felt that Tea Cake was playing Janie and Janie was taking chances falling in love with Tea Cake. “You doin right not tuh talk it, but Janie, you’se takin’ uuh mighty big chance(page.115).” Janie was having a discussion and they were telling her that she was taking a chance running off with Tea Cake. Phoebe feels as if Tea Cake is just a bomb ready to explode in Janie face. Janie felt that Tea Cake was the true love that she was always looking for in her life. “He done showed me where it’s de thought dat makes de difference in age(page.115).” Tea Cake changes janie’s whole train of thought around , so there had to be some love somewhere to make someone change their mind. Janie was really in love with Tea Cake.
Jody requires that Janie hold her hair in a head rag because it didn’t make sense for her to have it down. In reality, Jody was jealous about how the other men looked at Janie when she had her hair down. In fact, “one night he had caught Walter standing behind and brushing the back of his hand back and forth across the loose end of her braid ever so lightly so as to enjoy the feel of it without Janie knowing what he was doing” (Hurston 55). This infuriated Jody and he ordered Janie to always have her hair tied up when she was in the store because, “she was there in the store for him to look at, not those others” (Hurston 55). Janie’s hair can be seen as a symbol of her independence, but with Jody’s demands, her independence is lost. This inequality only exists for Janie, because she is a woman. She could not make similar demands from Jody, or else she would be punished. However, in her relationship with Tea Cake, Janie is allowed to be somewhat free of gender bias. Tea Cake was the only person that treated her as an equal. It begins with the game of checkers, which Tea Cake sets up himself, a sign that he wanted to play with her and saw her as an
Jody believes that Janie has poisoned him, illustrating the magnitude of both of their unhappiness. Almost immediately after Jody dies, Janie “starches” and “irons” her face, which could also imply how the headrags represent a facade that she unwillingly dons in public. Janie goes to the funeral inundated in loneliness and grief. However, after she emerges from the funeral Janie burns all of her head rags. Hurston states: “Before she slept that night she burnt up everyone of her head rags and went about the house the next morning..her hair in one thick braid”(pg 89). Fire represents the destruction of something; by burning the very tool that was facilitating the suppression of her identity, Janie is making a vow to never sacrifice herself to others. The long, nimble braid the reader is introduced to in the first chapter reemerges. It is important to note that as she lets her hair down, her circumstances change for the better. Janie meets Tea Cake, her playful new husband. Hurston describes Janie as the curious, vibrant child she was under the pear tree similar to how she is presently with Tea Cake. Therefore, Hurston reveals the overarching theme that when one unwillingly enshrouds their identity, their circumstances become unpalatable. This theme is conveyed through JAnie: As she sacrifices herself to tie her hair up, her happiness devolved into loneliness. However, once she crosses the threshold to her true self, she fully exuded the vivacious Janie that she truly is. All of this is manifested through her
The first time Janie had noticed this was when he was appointed mayor by the town’s people and she was asked to give a few words on his behalf, but she did not answer, because before she could even accept or decline he had promptly cut her off, “ ‘Thank yuh fuh yo’ compliments, but mah wife don’t know nothin’ ’bout no speech-makin’/Janie made her face laugh after a short pause, but it wasn’t too easy/…the way Joe spoke out without giving her a chance to say anything on way or another that took the bloom off things” (43). This would happen many times during the course of their marriage. He told her that a woman of her class and caliber was not to hang around the low class citizens of Eatonville. In such cases when he would usher her off the front porch of the store when the men sat around talking and laughing, or when Matt Boner’s mule had died and he told her she could not attend its dragging-out, and when he demanded that she tie up her hair in head rags while working in the store, “This business of the head-rag irked her endlessly. But Jody was set on it. Her hair was NOT to show in the store” (55). He had cast Janie off from the rest of the community and put her on a pedestal, which made Janie feel as though she was trapped in an emotional prison. Over course of their marriage, he had silenced her so much that she found it better to not talk back when got this way. His voice continuously oppresses Janie and her voice. She retreats within herself, where still dreams of her bloom time, which had ended with Joe, “This moment lead Janie to ‘grows out of her identity, but out of her division into inside and outside. Knowing not mix them is knowing that articulate language requires the co-presence of two distinct poles, not their collapse into oneness’ ” (Clarke 608). The marriage carries on like this until; Joe lies sick and dying in his death bed.
I believe Janie depended on her past husbands for financial security, and protection from the outside world that she could not make a mends with. Janie's dependence on Tea Cake was a dependence on love, Tea Cake treats her the way she has always wanted to be treated, like the blossom to the bee. When Joe died, he left Janie with money and the store, but she had no one to love nor anyone to keep her company. She needed Tea Cake to fill this void in her life, I believe Janie realizes this when she says, "Tea Cake ain't no Jody Starks...but de minute Ah marries `im gointuh be makin' comparison. Dis ain't no business proposition...
...disrespect from Tea Cake. She threatens him, saying if he leaves her again without her permission she will “kill yuh” (124). Within Janie’s past marriages her husbands treat her comparable to a slave and isolate her from the community. Even though her voice is still developing, she will not allow her husband to show her contempt. During the trial, Janie both matures and shows control over her voice, as she faces the horror of retelling the story of Tea Cake’s death to the court room. While giving her testimony, Janie knows when to talk; however, when she is through “she hushed” (187). By expressing and controlling her voice in court, Janie ultimately reveals her new found vocal maturity, but it is only because of her final marriage to Tea Cake that Janie finally develops an understanding of when and how to use her voice.
Hurston uses the power of language and different narrative techniques to show Janie's transition throughout the novel. It is important to notice that in Janie's journey from object to subject, the narration of the novel shifts from third person to a mixture of first and third person; thus, the shift shows the awareness of self within Janie. Language becomes an instrument of injury and salvation and of selfhood and empowerment. The use of powerful language is exemplified well in the text when Janie is asked to say a few words as the new Mrs. Mayor. Joe, her second husband, quickly cuts in and says, "Thank yuh fuh yo' compliments, but mah wife don't know nothin' 'bout no speech-makin'. Ah never married her for not...
I think both authors would agree with this view. Both stories involve a woman and how they are viewed as well as the struggles they face. Hurston’s story is about a power struggle between men and women. She states “see God and ast Him for a li’l mo’ strength so Ah kin whip dis ’oman and make her mind.”
In Of Mice and Men, it seems an incontrovertible law of nature that dreams should go unfulfilled. From George and Lennie’s ranch to Curley’s wife’s stardom, the characters’ most cherished aspirations repeatedly fail to materialize. However, the fact that they do dream—often long after the possibility of realizing those dreams has vanished—suggests that dreaming serves a purpose in their lives. What the characters ultimately fail to see is that, in Steinbeck’s harsh world, dreams are not only a source of happiness but a source of misery as well.
Hurston, sitting on her porch imagines it to be a theatre as she narrates her perspective of the passing white people. She finds a thin line separating the spectator from the viewer. Exchanging stances at will and whim. Her front porch becomes a metaphor for a theater seat and the passers Despite the current scrutiny that her race faces she asserts to the reader that her race and color define her as a person and does not determine her identity.
Our society expects women to generally serve men, to please men with their beauty, to be that innocent mind that depends men tremendously depend on, to be the helpmate any men would wish to have, and to be the girly woman we men dream of having. That said, when looking at “Sweat” through the feminist and historical lens, Hurston explains the idea of a sexist society full of men exploiting and breaking down women until they dispose them.
However, as time has progressed literature has finally come to terms with the feminism theory within literature and its ideologies. In this specific story, we are able to identify the traits of feminism theory with ease; Hurston allowed the world to finally accept the new dominant roles of women, while also allowing the female character to simultaneously possess every innate feminine trait along with those usually associated with the male
Oprah Winfrey once said, “The best thing about dreams is that fleeting moment, when you are between asleep and awake, when you don't know the difference between reality and fantasy, when for just that one moment you feel with your entire soul that the dream is reality, and it really happened.” But, what actually is a dream and what do dreams really have to do with one’s everyday life? In essence, a dream is a series of mental images and emotions occurring during slumber. Dreams can also deal with one’s personal aspirations, goals, ambitions, and even one’s emotions, such as love and hardship. However, dreams can also give rise to uneasy and terrible emotions; these dreams are essentially known as nightmares. In today’s society, the concept of dreaming and dreams, in general, has been featured in a variety of different mediums, such as literature, film and even music. While the mediums of film and music are both prime examples of this concept, the medium of literature, on the other hand, contains a much more diverse set of examples pertaining to dreams and dreaming. One key example is William Shakespeare’s A Midsummer Night’s Dream. While the portrayal of dreams, in general, plays a prominent role in Shakespeare’s play, the exploration of many aspects of nature, allows readers to believe that dreams are merely connected to somewhat unconventional occurrences.
... Janie is free-spirited and unconcerned about what others think of her. When she returns to Eatonville after Tea Cake’s death, she shows no shame for what she has done or where she has been, because she is finally able to live the life she always wanted to lead. Hurston’s own struggles in life for individuality and an outlet for her suppressed spirit clearly contribute to the development of Janie’s character. Just as Hurston struggled for recognition, equality, and purpose in the literary world during the Harlem Renaissance, Janie’s struggle for the recognition, equality, and purpose in her relationships.