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what is toni morrison’s main message for the bluest eyes
the bluest eye annotated
the bluest eye annotated
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Mary Jane
A good book is one that you cannot quit thinking about. For days after you finish it, you will catch yourself daydreaming about it. That is what The Bluest Eye did to me. I can’t say that I liked the novel, because I didn’t. It left me with an empty, horrified feeling in the pit of my stomach; a realization of how harsh the world can be. I believe that this was Toni Morrison’s goal for this book. She didn’t want me to feel all warm and cozy when I finished. She didn’t want me to ‘like’ The Bluest Eye; she wanted me to learn from it. I learned about a child’s understanding, how people can react differently to a harsh environment, the importance of white symbols in a black girls life, and what could possess adults to do horrible things to helpless children. In short, I learned about the world.
Claudia narrated most of the book, though the story is mainly about Pecola. Claudia and her sister, Fridea, are, in all visible ways, exactly like Pecola. They are poor, black girls in a world where only white is beautiful and good. The difference is that Claudia and Fridea could ignore society and still love themselves, but Pecola felt that she was worthless because of her black features.
The world around Claudia, Fridea, and Pecola is filled with symbols of whiteness. The first thing that is brought to our attention is the elementary school readers, where the main characters are Dick and Jane. Dick and Jane are perfect white children and they live in a perfect, white, cheery, loving, world. Morrison concentrates on this at the beginning of every chapter to bring focus on the life that Pecola wants to live. This establishes the theme of white domination over the culture. Pecola worshipped Shirley Temple. While she was at the Macteer’s she couldn’t get enough white milk, which she drank out of a Shirley Temple cup. She also loved Mary Jane candies because
“Each pale yellow wrapper had a picture on it. A picture of little Mary Jane, for whom the candy is named. Smiling white face. Blond hair in gentle disarray, blue eyes looking at her out of a world of clean comfort. The eyes are petulant, mischievous. To Pecola they are simply pretty. She eats the candy, and its sweetness is good. To eat the candy is somehow to eat the eyes, eat Mary Jane.
“Where does discipline end? Where does cruelty begin? Somewhere between these, thousands of children inhabit a voiceless hell” (Francois Mauriac, Brainyquote 2016). These statements posed by French novelist Francois Mauriac can be applied to Toni Morrison’s Beloved. The novel centers around Sethe, a former African American slave, who lives in rural Cincinnati, Ohio with her daughter named Denver. As the plot progresses, Sethe is confronted with elements of her haunting past: traumatic experiences from her life as a slave, her daunting escape, and the measures she took to keep her family safe from her hellish owner plague Sethe into the present and force her to come to terms with the past. A definitive theme
In Toni Morrison’s Pulitzer prize-winning novel Beloved, the past lingers on. The novel reveals to readers the terrors of slavery and how even after slavery had ended, its legacy drove people to commit horrific actions. This truth demonstrates how the past stays with us, especially in the case of Sethe and Paul D. The story focuses on previous slaves Paul D and Sethe, as well as Sethe’s daughters Denver and Beloved, who are all troubled by the past. Although both Paul D and Sethe are now free they are chained to the unwanted memories of Sweet Home and those that precede their departure from it. The memories of the horrific past manifest themselves physically as Beloved, causing greater pains that are hard to leave behind and affect the present. In the scene soon after Beloved arrives at 124 Bluestone, Sethe's conversation with Paul D typifies Morrison’s theme of how the past is really the present as well. Morrison is able to show this theme of past and present as one through her metaphors and use of omniscient narration.
Not only that, he played for great stars like Ike and Tina Turner as well as Sam Cooke. The year 1965 was when things really started to take flight for Hendrix’s music career. He played for more bands and artists such as Joey Dee. Hendrix played for the Starlighters at the time as well. During the next three years, Hendrix played for many major music artists and decided to make his own band he named Jimmy James And The Blue Flames. One day, while performing, former bassist of the band The Animals, Chas Chandler watched him and offered to be his manager in mid 1966 (Rockhall).
Toni Morrison’s powerful novel Beloved is based on the aftermath of slavery and the horrific burden of slavery’s hidden sins. Morrison chooses to depict the characters that were brutalized in the life of slavery as strong-willed and capable of overcoming such trauma. This is made possible through the healing of many significant characters, especially Sethe. Sethe is relieved of her painful agony of escaping Sweet Home as well as dealing with pregnancy with the help of young Amy Denver and Baby Suggs. Paul D’s contributions to the symbolic healing take place in the attempt to help her erase the past. Denver plays the most significant role in Sethe’s healing in that she brings the community’s support to her mother and claims her own individuality in the process. Putting her trust in other people is the only way Sethe is able to relieve herself of her haunted past and suffering body. Morrison demonstrates that to overcome the scars of slavery, one must place themselves in the hands of those that love them, rather than face the painful memories alone.
By creating the Tempest, Prospero uses his magic unfairly without true reason. He imprisons and terrorizes both innocent people and family. “All lost! To prayers, to prayers! All lost! … ‘Mercy on us!’-- ‘We split, we split!’-- ‘Farewell, my wife/ and children!’ -- ‘Farewell, brother!’ … Let’s
Throughout the play, Prospero is a figure who talks at rather than to the other characters, including his daughter Miranda, Prince Ferdinand, and Ariel, his airy servant. At the end of Act IV Prospero is caught up in the ecstasy of punishing and determining the fate of his foes. The beginning of Act V, however, marks a change in the character of Prospero, which averts a possible tragedy. Prospero is unsettled even though his plans are reaching fruition. In his talk with Ariel for the first time we see an actual conversation take place. In addition, in the line "...And mine shall." (Shakespeare V.i.20) we see a change of heart on the part of Prospero, and in the following monologue the audience is privy to introspection and contemplation even beyond that of the end of the masque in Act IV "We are such stuff as dreams are made on..."(Shakespeare).
There is a unimpeded progression of maturity that Prospero is subjected to. Instead of taking vengeance on those who wronged him he ultimately decides to function with his “...nobler reason...” (5.1.26). He understands that the way he has composed himself and treated others is no better than the lack of benevolence he has been subjected to. In William Shakespeare's the Tempest, Prospero projects the oppressive demeanour that initially made him a prisoner onto Caliban and Ariel which ultimately leads to his shift from ignorance to knowledge. The relationship between servant and master is beautifully articulated and exemplifies enticing altruistic values that one should strive for.
Both MacBeth and Lady MacBeth react differently from seeing so much blood and killing innocent men, women, and children. Lady MacBeth, in the fifth act, has become overwhelmed with guilt that she has gone insane. "Out, dammed spot! Out, I say! One- two- why then tis’ time to do ’t. Hell is murky.- Fie, my lord, fie, a soldier, and afeard? What need we fear who knows it, when none can call our power to account? Yet who would have thought the old man to have so much blood in him?" Lady MacBeth is in fear that someone would accuse MacBeth and herself for the murder of Duncan. She is tries to get rid of the evidence, the blood that has stained her hands, that could hold her guilty for the death of Duncan.
... take revenge on Caliban. We learn that not only was his “nobler reason” not actually a moral reason and instead a somewhat political reason, we also learn that “fury,” which can be seen as illogical revenge, is only a reference to Caliban’s form of revenge. In other words, he did not prevent himself from performing vengeful acts because of the logical problem with it; Instead, he did it because it would be alike to the way that Caliban would handle the problem who is the opposite of a noble. Now that we have taken into more careful consideration the reasons that Prospero uses not to take revenge on Caliban, we know that “nobler reason” is not a reference to moral logic and his stance against “fury” is only a refusal to act in the lowly way that Caliban acts. Instead of treating his comments as logical and wise, we are driven to treat them as self-centered comments.
In Toni Morrison’s novel, Beloved, Morrison uses universal themes and characters that anyone can relate to today. Set in the 1800s, Beloved is about the destructive effects of American slavery. Most destructive in the novel, however, is the impact of slavery on the human soul. Morrison’s Beloved highlights how slavery contributes to the destruction of one’s identity by examining the importance of community solidarity, as well as the powers and limits of language during the 1860s.
The song was composed by himself in which anyone with a little musical background history know that the typical characteristics of jazz is its instrumentations. In this particular case the instrumentations present were: Saxophone, Piano, Bass, and Drums. Song for Peace is a highlight, not least of all for revealing deep classical influences in his work. Here the theme takes inspiration from the Romantics, building increasingly complex structures on a lyrical foundation. Spite there was no vocal instrumentation, the music was clear, soft, and easy to assimilate. The tempo of this song started being slow but at the end it turned out fast with the piano improvisation. The first verse was composed of two differently-rhymed couplets (AABB). Contrast with the following verse, where the rhyme was repeated in the second line, followed by a variant in the third line – two half-lines sharing a new rhyme – and a return to the first arrangement in the last line
Prospero uses manipulation many times throughout the Tempest. He uses this in order to set forth a plan to regain his dukedom which he believes was wrongfully taken from him. Even though Prospero is seen throughout the play as the most
Sometimes it takes any advantage to attain power. Prospero secures power on the island through his use of magic and manipulation. He is in control of all of the events in the play since he essentially has all of the power. It is also revealed how he maintains his power by exploring the use of his manipulative magic and the hold he has over those around him. By using his magical influence over the natives he has enslaves, Prospero invokes fear in Ariel by stating, “If you complain any more, I’ll split an oak tree and lock you up in it till you’ve howled for twelve years” (Shakespeare 37). He uses his power as a fear tactic to make the native people do his bidding for him. He also uses his magic against those he has shipwrecked on the island. He puts them in a trance to keep him busy until he needs them again, “My magic powers are in full swing, and my enemies are confused and running around in circles. They’re under my control, and I’m keeping them in their crazy fits” (Shakespeare 143). By entrancing the men from the boat, Prospero can keep them under his bid until he sets himself on a course of action. As he states, “.., my enemies have happened to wreck their ship on this island. As I see it, my fate hangs on this lucky event”, he must be precise in how he handles cultivates these people or he will risk the possibility of his plan unraveling before him (Shakespeare 27). The idea behind him having magic is to set him apart
Prospero presents himself as a victim of injustice, however his belief of justice and injustice is somewhat contradicting. He takes advantage of this authority over other people and situations he encounters while using his integrity and compassion to mask his dangerous plans and to retain love and respect. The Tempest in the end suggests that love and compassion are more effective political tools than violence, hatred or even abusive magic.
Prospero uses the power of love to influence his daughter Miranda. Prospero knows that Miranda is devoted to him so he uses guilt to maintain her devotion. Miranda tells her father “Alack, what trouble/Was I then to you!” (I.2.153.154) her saying that to him shows that because of Prospero making her feel guilty, she is willing to do anything just for him. “Had I been any god of power, I would/Have sunk the sea within the earth…” (I.2.10.11). This quote indicates that she understood the extent of her father’s power and she had possessed the same amount of power, she would use it differently with Prospero. His power over Miranda is one that is continuously in this play. Prospero does say “I have done nothing, but in care of thee, /of thee, my dearest one…”(I.2.16.17) when he says that he makes it known that he does love his daughter and only trying to protect.