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Their Eyes Were Watching God
Often in stories of self-realization and self-love, there is an incident that is often overlooked. In Their Eyes Were Watching God, such is the case. While many people tend to believe that Janie’s relationship with Teacake was the central time when she realized who she was, Her marriage with Joe Starks is often ignored in the big picture. Janie realized what she didn’t want and not to settle and that helped her accept Teacake later on in the book. Jody’s ideals did not mesh with a Janie and caused a lot of conflict. Throughout their twenty-year marriage, three events symbolized the rift between Jody and Janie; The first was his refusing to allow Janie to speak at the towns opening ceremony, Janie’s public response to Jody’s ridicule of her, and Jody’s rejection of Janie while on his deathbed.
After Janie’s complete failure of marriage with Logan Killicks, She was looking for what was missing with their relationship. When Joe came down the road, She saw things being significantly different than what she had with Killicks. Jody stood for things she found fascinating. “…He spoke for far horizon. He spoke for change and chance.” (29). And although Jody did not represent the Pear tree which symbolized Janie’s ideal complementary man, He was more than what Killicks offered.
Unfortunately, Jody was in a lot of ways worse than Killicks was after they were married. There was an overriding theme of Janie’s silence while she was with Joe. Perhaps the biggest example and a preview of things to come was when Jody finished all of the town improvements and as a show of gratitude, the townspeople held an opening ceremony for the new Mr. And Mrs. Mayor Starks. During the ceremony, Janie was asked to say a few words and offer some encouragement from the crowd. But Jody rushed onto the stage to refuse Janie the opportunity to speak. “Thank yuh fuh yo’ compliments, but mah 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” (43). This was one of the first of many times when Janie would be silent and not allowed to speak her mind. After Jody interrupted the ceremony, Janie was just upset that she didn’t even get the opportunity to speak. “She had never thought of making a speech, and didn’t know if she cared to make ...
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...ut Jody wanted her to do his wishes and when she resented some of the orders he gave her, he got angry because he demanded her unconditional obedience. But unfortunately, Jody passed because he could not accept her independence as a woman. And this was manifested in her not being allowed to speak in public, his constant ridicule of her and his rejection of her while he was on his deathbed.
Works Cited
Hurston, Zora Neale Their Eyes Were Watching God. New York: HarperCollins, 1998
Callahan, John F.“The Rhetoric of Intamacy and Immensity” in Bloom, Harold ed. Modern Critical Interpretations, Zora Neale Hurston’s “Their Eyes Were Watching God”. New York: Chelsea House, 1987
Meese, Elizabeth. “Orality and Textuality” in Bloom, Harold ed. Modern Critical Interpretations, Zora Neale Hurston’s “Their Eyes Were Watching God”. New York: Chelsea House, 1987
Walker, S. Jay “Zora Neale Hurston” in Bloom, Harold ed. Modern Critical Interpretations, Zora Neale Hurston’s “Their Eyes Were Watching God”. New York: Chelsea House, 1987
Wall, Cheryl A. “Zora Neale Hurston” in Draper, James P ed. Black Literature Criticism. Vol 2; Detroit: Gale Research Inc., 1992
Over time Janie begins to develop her own ideas and ideals. In Their Eyes Watching God. Each principle character has their own perceptions. towards the end of marriage. & nbsp;
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
...d feels that she is lucky to have him. Joe Starks, Janie's second husband, seems to be her singing bee when they first meet but she realizes that he is not. When Joe becomes what he strived to be, he tried to control Janie and change her into what he expected and thought for her to be. Only Tea Cake, Janie's final husband, truly cared for the person that she really was and treated her as his equal. He encouraged her to speak her mind and tell him her opinion so that they can gain a better understanding of each other. In the course of these marriages, Janie is lead toward a development of self and when she arrives back in her hometown she has grown into a mature, independent woman who was still left with the warm memories of love and laughter with Tea Cake.
Pondrom, Cyrena N. "The Role of Myth in Hurston's Their Eyes Were Watching God." American Literature 58.2 (May 1986): 181-202.
Their Eyes Were Watching God is a novel that presents a happy ending through the moral development of Janie, the protagonist. The novel divulges Janie’s reflection on her life’s adventures, by narrating the novel in flashback form. Her story is disclosed to Janie’s best friend Phoebe who comes to learn the motive for Janie’s return to Eatonville. By writing the novel in this style they witness Janie’s childhood, marriages, and present life, to observe Janie’s growth into a dynamic character and achievement of her quest to discover identity and spirit.
---. "Review of Their Eyes Were Watching God." Zora Neale Hurston - Critical Perspectives Past and Present. Eds. Henry Louis Gates, Jr. and K. A. Appiah. New York: Amistad, 1993
Rosenblatt, Roger. “Roger Rosenblatt’s Their Eyes Were Watching God.” Rpt. in Modern Critical Views of Zora Neale Hurston. Ed. Harold Bloom. New York: Chelsea House, 1986. 29-33. Print.
Zora Neale Hurston’s Their Eyes Were Watching God is a novel illustrating the life of an African American woman that finds her voice through many trials and tribulations. At the heart of the story, Hurston portrays a protagonist who moves from a passive state to independence, from passive woman with no voice who is dominated by her husband to a woman who can think and act for herself. Hurston achieves the greater theme of Their Eyes Were Watching God, of self-expression and independence through her use of three basic southern literary elements: narrative structure, ¬¬¬¬¬allegory, and symbolism. A brief inspection of these three basic elements will reveal how Their Eyes Were Watching God achieves its inspiring effect.
Hurston, Zora Neale. Their Eyes Were Watching God. New York: Harper Perennial Modern Classics, 2006. Print.
The book, Their Eyes Were Watching God by Zora Neale Hurston is about Janie Crawford and her quest for self-independence and real love. She finds herself in three marriages, one she escapes from, and the other two end tragically. And throughout her journey, she learns a lot about love, and herself. Janie’s three marriages were all different, each one brought her in for a different reason, and each one had something different to teach her, she was forced into marrying Logan Killicks and hated it. So, she left him for Joe Starks who promised to treat her the way a lady should be treated, but he also made her the way he thought a lady should be. After Joe died she found Tea Cake, a romantic man who loved Janie the way she was, and worked hard to provide for her.
In the novel Their Eyes Were Watching God by Zora Neale Hurston, Janie Crawford, the protagonist, constantly faces the inner conflicts she has against herself. Throughout a lot of her life, Janie is controlled, whether it be by her Nanny or by her husbands, Logan Killicks and Joe Starks. Her outspoken attitude is quickly silenced and soon she becomes nothing more than a trophy, only meant to help her second husband, Joe Starks, achieve power. With time, she no longer attempts to stand up to Joe and make her own decisions. Janie changes a lot from the young girl laying underneath a cotton tree at the beginning of her story. Not only is she not herself, she finds herself aging and unhappy with her life. Joe’s death become the turning point it takes to lead to the resolution of her story which illustrates that others cannot determine who you are, it takes finding your own voice and gaining independence to become yourself and find those who accept you.
Janie’s first relationship was with Logan Killicks. She married him only because she wanted to appease her grandmother. Logan did not truly love Janie, but saw her as an asset to increase his own power. Logan expressed this through several actions. He first tries to use her to "increase his profits" rather than treating her as a wife when he travels to Lake City to buy a second mule so Janie can use it to plow in the potato field because potatoes were "bringin' big prices”. When Janie later refused to work at his command, stating that it was not her place to do so, Logan told her, "You ain't got no particular place. It's wherever Ah need yuh". After Logan told her this, Janie decided she had to either escape or face becoming her husband's mule for life. Janie stood up to her husband. This is a feminist action because Janie is willing to leave a husband who makes her unhappy, which was rare act of independence and defiance for women living in the 1930’s. To free herself from her marriage with Logan Killicks, she only needed to invalidate the elements of his symbolic vision. She recognized that for Killicks marriage was primarily a financial arrangement, and his sixty acres acted both as a sign and guarantee of matrimonial un...
As the novel begins, Janie walks into her former hometown quietly and bravely. She is not the same woman who left; she is not afraid of judgment or envy. Full of “self-revelation”, she begins telling her tale to her best friend, Phoeby, by looking back at her former self with the kind of wistfulness everyone expresses when they remember a time of childlike naïveté. She tries to express her wonderment and innocence by describing a blossoming peach tree that she loved, and in doing so also reveals her blossoming sexuality. To deter Janie from any trouble she might find herself in, she was made to marry an older man named Logan Killicks at the age of 16. In her naïveté, she expected to feel love eventually for this man. Instead, however, his love for her fades and she beco...
In the beginning of the story, Janie is stifled and does not truly reveal her identity. When caught kissing Johnny Taylor, a local boy, her nanny marries her off to Logan Killicks. While with Killicks, the reader never learns who the real Janie is. Janie does not make any decisions for herself and displays no personality. Janie takes a brave leap by leaving Killicks for Jody Starks. Starks is a smooth talking power hungry man who never allows Janie express her real self. The Eatonville community views Janie as the typical woman who tends to her husband and their house. Janie does not want to be accepted into the society as the average wife. Before Jody dies, Janie is able to let her suppressed anger out.
Appiah and Gates, 204-17. Hurston, Zora. Their Eyes Were Watching God. New York: Harper & Row Publishers, Inc., 1990. Wright, Richard.