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Essays on women in literature
Essays on women in literature
Depiction of women in literature
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Unlike Bigger, Janie proves that challenging people’s expectations can in the end produce satisfaction and happiness. Janie’s second husband Jody enjoys asserting his dominance over Janie and making sure she knows her place is below his. Finally fed up with his superiority complex, Janie retorts, "[God] told me how surprised... y’all is goin’ tuh be if you ever find out you don’t know half as much ‘bout us as you think you do. It’s so easy to make yo’self out God Almighty when you ain’t got nothin’ tuh strain against but women and chickens." (Hurston 75) Most women during this time would not have the confidence to stand up to any man, especially their husbands. Hurston displays Janie’s courageous personality by not not only having her boldly …show more content…
confront Jody’s attitude and mock his “God Almighty” complex, but exposing how he is completely incorrect in regarding women and farm animals as on the same level. After the death of Jody, Janie meets a young man named Tea Cake, and they become enamored with each other. Unfortunately, the town disagrees with this new relationship and collectively they judge, “Tea Cake and Mrs. Mayor Starks! Another thing, Joe Starks hadn't been dead but nine months and here she goes sashaying off to a picnic in pink linen...Tea Cake and Janie gone hunting. Tea Cake and Janie gone fishing. Tea Cake and Janie gone to Orlando to the movies.” (123) Janie’s biggest act of rebellion begins with consorting with Tea Cake, a man significantly younger than her. Hurston has the community call Janie “Mrs. Mayor Starks” in order to associate her with a formal title and the responsibilities that come with it to highlight how they scorn her act of rebellion. Janie obviously does not care what the majority thinks of her, because she happily “[sashays] off to a picnic,” to hunting, to fishing, and to the movies.
Janie could have let the town still simply regard as the wife of the deceased Jody Starks, but instead she chooses to live her life and find the enjoyment in it. In the end, Janie had to kill Tea Cake in self-defense after he tried to shoot her while afflicted with rabies. When returning to the town and the house she resided in with Jody, Janie observes, “Now, in her room, the place tasted fresh again. The wind through the open windows had broomed out all the fetid feeling of absence and nothingness.” (205) Despite the tumultuous nature of her relationship with Tea Cake, Janie doesn’t regret any part of it, because he brought her pure joy––something she didn’t have before. Janie felt trapped earlier, but Hurston uses “the wind” to symbolize how her relationship with Tea Cake brushed out the feelings of “absence and nothingness” Janie faced. Again, choosing to ignore the protests of others allowed Janie to find the satisfaction she lacked in her life before Tea Cake came and to ultimately reach a state of freedom and contentment. Through Janie, Hurston describes how breaking from expectations can lead to fulfillment in
life. Even though Richard Wright and Zora Neale Hurston both examine how by using society’s expectations to dictate their lives people will develop a warped perspective of themselves, Wright’s Native Son details an individual who has gone on a path of misery because he absorbed these conjectures, while Hurston’s Their Eyes Were Watching God explains how one can eventually reach serenity by daring to go against the norm. White society discriminated against Bigger for his race, making his situation clearly whites vs blacks. However, Janie’s community of fellow African Americans unfairly treated her due to her gender and actions, therefore proving that prejudice doesn’t only exist within one group. Human nature feels inclined towards making judgements and forming preconceptions of the unknown, but these start with one person and grow until they infect the general masses. Whether they were displaced or chose to come to a new land, people hope to construct a better existence than they had previously. Their success depends on how they approach the barriers they come across, and sadly many will fail.
The somber and the effusive tone can be seen in this passage, which also happens to be the climax of the novel in which Hurston gives the reader a dramatic image of Tea Cake's death scene. Hurston's choice of words and sentences will aid in creating the imagery. In the first paragraph, she describes how 'Tea Cake crumpled at his bullet'; and how Janie 'pried'; her husband's teeth from her arm after 'he crashed forward in her arms.'; She also begins the second paragraph by saying 'It was the meanest moment of eternity'; and how Janie sacrificed herself 'with Tea Cake's head in her lap.'; The mentioning of Janie's sacrifice is crucial to this scene. Even though Tea Cake treated her better than her pasts husbands, the act of Janie shooting Tea Cake shows her newly gained freedom and independence. Janie learns how to live for herself. The effusive tone or the outpouring of emotions can mainly be seen in the second paragraph. The beginning statements of how 'she wanted him to live so much'; and the sentences before that , makes us sympathize for Janie. Janie's emotions can clearly be seen in this section. She ' held his head tightly to her breast and wept and thanked him wordlessly for giving her the chance for loving service.
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
Of least significance to Janie is her first husband, Logan Killicks. Hurston uses pathos to show that Janie and her first husband are not meant to be even though society thinks otherwise. Nanny thinks that Logan is really made for Janie, but Janie doesn’t love Logan. Janie tells Nanny, “Cause you told me Ah
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
Janie’s character undergoes a major change after Joe’s death. She has freedom. While the town goes to watch a ball game Janie meets Tea Cake. Tea Cake teaches Janie how to play checkers, hunt, and fish. That made Janie happy. “Somebody wanted her to play. Somebody thought it natural for her to play. That was even nice. She looked him over and got little thrills from every one of his good points” (Hurston 96). Tea Cake gave her the comfort of feeling wanted. Janie realizes Tea Cake’s difference from her prior relationships because he wants her to become happy and cares about what she likes to do. Janie tells Pheoby about moving away with Tea Cake and Pheoby tells her that people disapprove of the way she behaves right after the death of her husband. Janie says she controls her life and it has become time for her to live it her way. “Dis ain’t no business proposition, and no race after property and titles. Dis is uh love game. Ah done lived Grandma’s way, now Ah means tuh live mine” (Hurston 114). Janie becomes stronger as she dates Tea Cake because she no longer does for everyone else. Janie and Tea Cake decided to move to the Everglades, the muck. One afternoon, a hurricane came. The hurricane symbolizes disaster and another change in Janie’s life. “Capricious but impersonal, it is a concrete example of the destructive power found in nature. Janie, Tea Cake, and their friends can only look on in terror as the hurricane destroys the
Hurston, however, does not present the reader with the nihilistic hopelessness of Fitzgerald or Hemingway, but rather offers an understanding of the basic human aspect that causes us to fear emptiness. Janie, the main character in the novel, understands this emptiness and is dissatisfied with it. In an attempt to solve the problem, Janie sets out on a quest to make sense of her inner void. Although she is beset on all sides by tragedy, Janie does not become discouraged - quite the opposite actually. She uses her tragedy as emotional fuel to keep her moving toward her destiny.
Through her three marriages, the death of her one true love, and proving her innocence in Tea Cake’s death, Janie learns to look within herself to find her hidden voice. Growing as a person from the many obstacles she has overcome during her forty years of life, Janie finally speaks her thoughts, feelings and opinions. From this, she finds what she has been searching for her whole life, happiness.
The author also vividly expresses that Janie has been through hard times and still managed to make it through because she is strong of mind and heart. Hurston’s sympathy seems to be coming out of admiration as well as affirmation.
In Hurston's story, Janie symbolically represents the position of a woman in the South who is seen to be confused due to her nature as a woman. She is also married to three husbands at different stages, this represents her development from a dependent person who could not make her own choices and in her last marriage to the Tea Cake she makes her choice independently hence and indication that she has finally developed and gained independence. Also, when her last husband dies she shave her hair and goes backs home (Hurston, 2000), by shaving her hair she symbolized her rebirth from dependent to an independent woman and also it was a symbol of change and a new
The contrast of these two places reinforces the theme of a search for love and fulfillment. To see what an ideal situation for an independent woman like would be, Hurston must first show the reader what Janie cannot deal with. Hurston has her character Janie go on a quest, one that was begun the day she was forced to marry Logan Killucks. The contrast in the setting is similar to one between good and evil.
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...
... She tells Pheoby, "'Dis house ain't so absent of things lak it used tuh be befo' Tea Cake come along. It's full uh thoughts, 'specially dat bedroom'"(284). Janie transforms her experiences with renaming: Tea Cake becomes the "son of Evening Sun" (281), and the lamp in Janie's hand is a "spark of sun-stuff washing her face in fire" (285). Janie Crawford Killicks Starks Woods has survived a succession of marital and other identities, and at the end of the novel, empowered to tell her own story, she has become a sort of goddess who pulls "in her horizon like a great fish-net" (Gilbert and Gubar 238-39). Janie's last act is an invocation of her self: "She called in her soul to come and see" (286). Janie is the final one who names in Hurston's novel, and with her call to herself, Janie becomes a model of powerful self-identiflcation for later Afro-American women writers."
“She saw a dust-bearing bee sink into the sanctum of a bloom; the thousand sister-calyxes arch to meet the love embrace and the ecstatic shiver of the tree from root to tiniest branch creaming in every blossom and frothing with delight,” (11). The novel, Their Eyes Were Watching, God by Zora Neale Hurston, tells a story of a woman, Janie Crawford’s quest to find her true identity that takes her on a journey and back in which she finally comes to learn who she is. These lessons of love and life that Janie comes to attain about herself are endowed from the relationships she has with Logan Killicks, Joe Starks, and Tea Cake.
... middle of paper ... ... Through Janie's experiences and feelings regarding the love of her life, his death, and the hurricane, it is obvious that Hurston meant for the reader to relate self-realization to questioning God. Although God is not a dominant theme in the novel, it is likely that Hurston was mirroring the people she came into contact with throughout her endeavors as a folklorist.
... 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.