Janie loved the conversation and sometimes she thought up good stories on the mule, but Joe had 60 forbidden her to indulge. He didn’t want her talking after such trashy people. Janie wants to be part of it but Joe forbids it. He does not understand this type of conversation and thinks they are trashy people. Sam, Lige and Walter take the lead in creating “pictures” the male members pass around, which an envious Janies rightly divines as “crayon enlargements of life”. “Dat mule uh yourn, Matt. You better go see ’bout him. He’s bad off.” “Where ’bouts? Did he wade in de lake and uh alligator ketch him?” “Worser’n dat. De womenfolks got yo’ mule. When Ahcome round de lake ’bout noontime mah wife and some others had ’im flat on de ground usin’ his sides fuh uh wash …show more content…
Sam never cracks a smile. “Yeah, Matt, dat mule so skinny till de women is usin’ his rib bones fuh uh rub-board, and hangin’ things out on his hock-bones tuh dry.” The poverty represented in this story is contrasted and replaced by the humor. Indeed, the images such has the sides of the mule serving as a wash-board. As Maria Tai Wolff says “for telling to be successful, it must become a presentation of sights with words. The best talkers are “big picture talkers”. For Hurston, the construction of African American identity requires a voice that can make you see, a voice that celebrates the visible presence of black bodies. Janie tells “ talkin’ don’t amount tug uh hill uh beans when yuh can’t do nothin’else”. In contrast to Joe start, who seeks to be a big voice only to have his wish become true when Janie informs him that he “big-bellies round here and put out à lot of brag, but ‘tain’t nothin’ to it but yo’ big voice”. Janie seeks for a voice which can picture, which can make you see. The ability to find this voice is important in a world where , as Nanny says “We don’t know nothin’ but what we see. The heavy use of imagery shows that Hurston knows a
Firstly, Jody promises the best for Janie, proclaiming to provide a pampered and proper life for her. For example, when he first meets Janie and she reveals the amount of farm work Logan assigns her to do and Jody says, "You ain’t got no mo’ business wid uh plow than uh hog is got wid uh holiday... A pretty doll-baby lak you is made to sit on de front porch and rock and fan yo’self and eat p’taters dat other folks plant just special for you" (29). Jody outwardly expresses his belief that such a beautiful and delicate woman like Janie shouldn’t be doing hard labor. He instead believes that Janie should be pampered, resting in the cool shade with food that others made for her.
Hurston contrasts this style by using a strong African-American dialect. Later in Chapter 11, Janie says to Hezekiah, “Oh dat’s all right, Hezekiah. Thank yuh mighty much” (143). Hurston chooses to define her characters’ voices using the vernacular in which
“"…but Ah’m uh man even if Ah is de Mayor. But de mayor’s wife is somethin’ different again. Anyhow they’s liable tuh need me tuh say uh few words over de carcass, dis bein’ uh special case. But you ain’t goin’ off in all dat mess uh commonness."” (Hurston)
The rhetorical aim of expression is understood in the first paragraph because Hurston begins in first person: "I am colored but I offer nothing in the way of extenuating circumstances except the fact that I am the only Negro in the United States whose grandfather on the mother's side was not an Indian chief" (12). Hurston does not stray from first person as she continues to express from personal experiences throughout her life. She concludes the essay by questioning "who knows" about the "Great Stuffer of Bags" (15). In Hurston's conclusion, she compares colored people with paper bags. Hurston's essay is effective because (1) she succeeds in organizing her experiences with a common phrase starting the beginning of her paragraphs and (2) Hurston effectively narrates each experience with imagery and literary devices.
But the problem is Ma and Jeb. “You can’t ride on Bessie all day long,” her Ma scolds. “You have to get off of her if you want to play with your brother on the ground.” “But Pa never gets off of his horse,” Rosie replies to her Ma. “That isn’t a horse, that’s a mule,” Jeb grumbles.
The most evident use of imagery is recorded in lines 76-94. Lines 76-94 describe Zora Hurston’s
Hurston divulges in the deception of hopes and dreams through the recurrent symbol of the horizon. What one hopes for on the horizon is ultimately what deceives one. In Janie’s adolescence, she presumes that she loves Nanny, her grandmother and legal guardian, and that Nanny knew better for Janie’s welfare. However, during Janie’s newfound independence and self-discovery after a controlling marriage, she discovers her true feelings of Nanny: hate. She abominates Nanny because, “Nanny had taken the biggest thing God ever made, the horizon… and pinched it in to such a little bit of a thing that she could tie it around her granddaughter’s neck tight enough to choke her” (Hurston 89).
Zora Neale Hurston’s writing in Their Eyes Were Watching God, reflects the Harlem Renaissance through Janie 's individuality, and departs from the Harlem Renaissance with the common recurrence of black woman empowerment. In the novel, Hurston reflects the ideas of the Harlem renaissance with the ways in which Janie rebels and goes against norms for women.
In Their Eyes Were Watching God, Zora Neale Hurston acknowledges the idea of sexism when she addresses that Janie Starks, the protagonist, never got to fulfill her dreams. Janie’s grandmother, Nanny, wanted the best for her granddaughter so she married her off to a man named Logan Killicks, a man who had a small farm and good wealth “Janie and Logan got married in Nanny’s parlor of a Saturday evening with three cakes and big platters of fried rabbit and chicken,” (Hurston 3). Years has passed within the marriage and Janie never found love for Logan. Logan comparing her to his ex-wife, discriminated Janie’s place of position, “Mah fust wife never bothered me ‘bout choppin’ no wood nohow. She’d grab dat ax and sling chips lak
Their Eyes Were Watching God by Zora Hurston introduces readers to the life of Janie Crawford living in rural Florida during the early twentieth century. During this time, women, specifically black women, were considered to be property of men in the south. Legally, women had no voice. Janie Crawford, as well as many others find themselves in a society expecting more out of life than what the time period has to offer. Through love affairs, catastrophes and death, Hurston shows readers how a small voice can make a difference.
(Hurston 8-9).” This really starts the search for identity within her. It fuels the fire to her wanting to know who she is, where she came from, and where she is going to go. Hurston is using this message to convey the theme of Identity. She uses Janie as the main representation of that theme.
Hurston tells the story of Janie, a black woman who because of her grandmother experiences and beliefs was forced to marry into a loveless marriage with Logan Killicks, a hard-working farmer who had 60 acres of land and could provide for Janie. This marriage ended when Janie ran away with Joe Stark, a man that she fell in love with and thought could give her the love absent between her and Logan. But Janie soon realized that her second marriage wouldn’t turn out better than her first. Joe was just as controlling and degrading as Logan. He hardly expressed his love for Janie and spoke to her like an incompetent child.
“Uh alright I will talk to you later,” replied Michael as he walked away. Michael then walked over to Stanley, and shouted, “Stanley the manly! What’s up?” “Leave me alone, Michael,” scolded Stanley as he tried to keep working. Michael then decided to chat with Phyllis.
Zora Neale Hurston creates a very specific imagery in her short story “Sweat”, and the way she writes the dialect in this story completely portrays the African American culture in the mid to late 1920’s. Hurston uses “words” like “Sho” to imitate an African American saying the word “sure”. She also uses apostrophe’s in specific places on words like “aggravatin’” and “Ah’m” as in “I’m”. The way Hurston uses dialect in this story makes it seem much more realistic and makes you feel as if you are actually there watching all that is going on. Hurston uses many different techniques in her writing style to portray