The Wild Duck, Journal Four

I believe the characters that are at fault are Gregers, Werle and Gina. I believe Gina is at fault because she never told Hjalmer about what happened between her and Werle. If we examine Mrs. Sorby's marriage with Werle for exmaple, they are completely honest. They discussed each other's past and they plan on loving each other no matter what. Gina on the other hand, decided to hide the past. If she had told Hjalmer that Werle was making advances on her, Hjalmer might still have married her. But now, years later, Hjalmer is hurt by Gina. Hjalmer is hurt because he has believed a lie for 15 years and Hedvig is not even his child. Personally, I feel as if Gina had been open at the very start, these problems would not have arisen.
I also blame Werle for perusing Gina. We do not know if Gina was consenting to the relationship, but it was wrong of Werle to pressure Gina into a marriage. Werle valued his economic status over doing what was morally right. If Werle was a good man, he would have taken care of Gina and not forced her to marry off. Werle's actions of protecting his name over Gina show that he is also at fault for the ordeal.
Lastly, I also blame Gregers. Gregers was not involved in the affair, but he was the one that brought darkness to Hjalmer's life. Technically, Hjalmer could have lived the rest of his life unaware of the truth. Instead, Gregers followed what he believed was morally correct and exposed the truth. It it weren't for Gregers, Hedvig would not have to sacrifice the wild duck, Hjalmer would still be happy and they would live on as a happy family.
The only character I view as being completely fautless is Hedvig. Hedvig is innocent and does not understand what is happening. Hedvig had no control over Gina's actions and she as well is blind to the truth. In Act Four, Hjalmer shows aggression towards Hedvig, showing that he does blame her, but in reality, she in the only innocent character in the play.
So far in Act Four, no characters have taken responsibility. Hjalmer seems to be placing all the blame on Gina. If anything, Hedvig is the only character showing any feeling of responsibility. She even begins to blame it all on herself.

The Wild Duck, Journal Three

"Can't you see how I'm working! I'm working for all I'm worth!" (158)
I found this quote to be interesting because Hjalmer never actually works. Every time he sits down to work, he immediately gets up to do something else, yet Hjalmer is under the perception that he does work. He believes that he is a hard-worker and is the main provider in the house, when in reality, Gina and Hedvig do all the work. It seems as if Gina and Hedvig have created a facade for Hjalmer though. They praise him so much that it would only be natural for Hjalmer to believe that he is a hard-worker. With this facade, it seems as if Gina is trying to hide Hjalmer from himself.

"Even time doesn't exist in there--with the wild duck" (162). 
This quote caught my attention because I found it interesting how Hjalmer speaks about the wild duck in an envious way, yet he is the wild duck. He perceives the wild duck as being completely innocent; unaware of time and what is occurring around him. In a sense, Hjalmer is the same way. Hjalmer is unaware of his surroundings and what is happening. He thinks he knows, but in reality, everything he knows is most likely a lie.

"No. Even the chickens have all the others that they were baby chicks with, but she's so completely apart from any of her own. So you see, everything is so really mysterious about the wild duck. There's no one who knows her, and no one who knows where she's come from, either" (164).
In this quote, the audience can perceive Gina as the wild duck. Hedvig talks about the wild duck being "mysterious" and no one knowing who the wild duck is except for the wild duck itself. This also pertains to Gina. No one knows the truth about happened between Gina and Werle except for Gina. Werle may not even know if he is father of Hedvig, but Gina does, so this proves Gina is the only person who knows the truth. It is interesting to see how Ibsen relates the wild duck to several difference characters in the play.

"Not quite that. I wouldn't say you're wounded; but you're wandering in a poisonous swamp, Hjalmer. You've got an insidious disease in your system, and so you've gone to the bottom to die in the dark" (170)
This quote, said by Gregers, is significant because it relates Hjalmer to the wild duck and Gregers talks about Hjalmer being diseased. Gregers said this after Hjalmer admitted to attempting suicide. I found this interesting because in a sense, Hjalmer is mentally diseased. Hjalmer is not wounded yet because he hasn't killed himself, but he is "wandering in poisonous swamp" meaning Hjalmer is lost in a house, or family, filled with disease and lies.

"It'll never be sound. Your conscience has been sickly from childhood. It's an inheritance from your mother, Gregers--the only inheritance she left you" (176)
In this scene, Werle is speaking to Gregers about Gregers' motives for telling Hjalmer the truth. I found this interesting because one again, the motif of disease is being used. Ibsen creates every character as having either mental or physical disabilities. In this scene in particular, we get an insight into Gregers. I am beginning to question if Gregers is really telling the truth to help Hjalmer or if he's doing it just to clear his own conscience. Gregers is potentially going to ruin Hjalmer's life, so is he doing it out of selfishness? Up until this point, it had seemed like Gregers was the only character in the play who was not plagued by illness, but Ibsen has just destroyed this perception.

The Wild Duck, Journal Two

The perception Gregers has of Hjalmer is extremely unique. Gregers believes Hjalmer is an innocent and loyal man. This is shown when Gregers refers to Hjalmer as being his "best and only friend" (122). This illustrates how Gregers perceives Hjalmer as a man who has essentially never done anything wrong. This creates complexity within the play because Gregers believes that Gina is an adulteress and the wrong doings are her fault. Although, Gregers does not know that Hjalmer does not do any work and that it is Gina who keeps Hjalmer's life together. But still, Gregers believes Gina is putting on a facade in order to protect herself and Hjalmer is the victim, so Gregers feels the need to plunge Hjalmer out of the swamp of lies and reveal the truth. This is shown in the quote, "And there he sits right now, he with his great, guileless, childlike mind plunged in deception-living under the same roof with that creature, not knowing that what he calls his home is built on a lie" (135). Gregers refers to Gina as being a "creature", which is insulting because he is dehumanizing her. It is obvious that Gregers perceives Gina as a monster. 

Another interesting relationship in the play is between Gregers and his father Werle. Right off the bat, we see tension between the father and son. Gregers, who loves Hjalmer, is angered with this father for having sexual relations with Gina. Gregers perceives his father as a traitor because it happened right after the death of Gregers' mother. Gregers also perceives Werle as the bad guy and believes he has created a facade of being a moral man. Many people look up to Werle for his economic status and Gregers believes this is all a facade to cover up his faults and past hiccups. 

The Wild Duck, Journal One

The play starts off without giving the audience much information about what is going on. The tension between Gregers and his father Haakon Werle is obvious right from the start though. This creates a boundary between the two, most likely an emotional boundary. It seems as if the two cannot connect emotionally because Gregers has built up anger towards his father. It seems Greger is holding a grudge against his father for something that happened to his mother, but the audience does not know anything except that his mother died of illness. This emotional boundary will most likely create an internal struggle. Another boundary I noticed was a possible economic or social boundary. It is lightly touched on that Old Ekdal went to prison for lying, or creating a scandal in Haaken Werle's business. What crime Old Ekdal committed is not known yet to the audience, but I sense social and economic boundaries between Old Ekdal and Haaken Werle because of this.
Ibsen creates boundaries though the characters' dialogue. Because the audience has no background information, we sense tension through the characters through their stage directions as well. Also, if we were seeing the play live, I am sure the tone of which the actors were speaking would help make the boundaries much clearer.
Lastly, it seems as if the characters react negatively to the boundaries. When the characters see Old Ekdal, they are shocked and embarrassed. Also, Gregers displays feelings of strong dislike for his father, so this shows the actors are hurt by the boundaries.

Antigone Journal 4

Passage:

"He tried to raise Haemon to his feet. I could hear him begging Haemon to rise to his feet. Haemon was deaf to his father's voice, till suddenly he stood up of his own accord, his eyes dark and burning. Anguish was in his face, but in the face of a little boy. He stared at his father. Then suddenly he struck him -- hard; and he drew his sword. Creon leaped out of range. Haemon went on staring at him, his eyes full of contempt -- a glance that as like a knife, and that Creaon couldn't escape. The King stood trembling in the far corner of the tomb, and Haemon went on staring. Then, without a word, he stabbed himself and lay down beside Antione, embracing her in a great pool of blood" (51).

Commentary:
The passage immediately starts off with repetition amongst the first two sentences with "raising Haemon to his feet". The second sentence has a much more desperate tone with the word choice "begging". This change in tone makes the reader feel sympathetic for Creon who has just found his son hugging the legs of Antigone's dead body. In the following sentence, Heamon is described as being "deaf" to his father's voice, but he suddenly stands up on "his own accord". This ties in with the theme of individuality versus the government. Haemon does not stand up when his father asks him too. Haemon's father, Creon, symbolizes the government because he is the king. Instead, Haemon stands up on "his own accord" which shows he is following his own decisions and not what the government is asking him to do. Anouilh then uses "face of a little boy" to describe Haemon's pain. This word choice could imply that although Haemon is a grown and athletic man, he displays a look of innocence and loss on his face, like a little boy who just lost his favorite toy. This innocence characterizes Haemon as a soft man. In the next sentence, Haemon's actions are once again described as "sudden". This creates the idea that Haemon is an impulsive man who does not think. The word choice soon becomes much darker once Haemon draws the sword and starts to attack Creon. This is an interesting contrast to the previous sentence that compared Haemon to a little boy. Impulsive behavior can also be classified as a childish trait, although Haemon is longer soft. He has turned into a savage. I found the sentence "The King stood trembling in the far corner" to be ironic. A king, who is supposed to be brave and powerful, is trembling in a corner. In a sense, Creon is depicted as not being a real king because he is cowardly. This could be an allusion to the Vichy government in France. They too were not a real government and lived in fear of the Germans. The very last sentence in the passage creates incredible imagery with "great pool of blood". Having the word "great" is an odd contrast because death and blood is definitely not great. The word choice of "pool" also makes the scene very tragic because it exaggerates how much blood there actually was.  

Antigone Journal 3

Contrasting ideas-

Machine vs. Choice:
Anouilh uses the motif of machinery to contrast the idea of fate with choice. Like a machine, fate is predetermined and has a routine which it must follow. Machines do not have choices. In one of the scenes, the Chorus is explaining how the machine of life works. Essentially, Anouilh is saying that every individual is born with their life path already set out before them. It is "automatic" and cannot be changed (23). Anouilh then goes on to say "it has been oiled ever since time began, and it runs without friction" (23). By saying "it runs without friction" (23), Anouilh is implying that humans lack complete control of their lives. This contrast created between machines and choices provide the audience with an insight to Antigone's mind. Antigone is conflicted because she believes in fate, yet she is trying to control her future. Antigone knows she will die, but she still defends her right to live. Through Antigone's actions, Anouilh creates tension. It is impossible to have a predetermined fate and   make choices at the same time. This is proven through the quote "Antigone is going to be able to be herself now" (24). This illustrates that fate and choices cannot co-exist. It is not until Antigone fulfills her fate that she is able to make decisions and be herself.

Moral Law vs King's Law:
In Greek culture, which the play Antigone is based off of, we know that not burying someone is the most disrespectful act a person can commit. The Greeks believed that humans who went without a burial would "wander eternally and find no rest" (29).  Antigone feels morally obligated to bury her brother Polynices and because Antigone is a woman who believes in moral law, Antigone disobeys the King's law. Anouilh contrasts these two concepts in the scene where Antigone had just been brought to King Creon. Creon is accusing Antigone of being a "traitor" and says that because Antigone is "a daughter of the lawmakers", she must "observe the law" (29). Here Anouilh explores the idea that following moral law conflicts with following the King's law. Once again, the two cannot co-exist peacefully. Antigone must die because she followed moral law and Anouilh shows us that this is the outcome of not following the King's law, or political law.

Antigone Journal 2

Timeline:
1. Antigone speaks to her sister Ismene of burying their brother Polynices
2. Ismene wants to think about it before risking her life to bury him
3. Antigone does not listen to Ismene and steals her dress and lipstick. Antigone dresses up and goes to see Haemon.
4. Antigone goes to Haemon to see if he truly loves her or if it was a mistake. She also attempts to seduce in case she dies tomorrow.
5. Antigone and Haemon end up having a quarrel and Antigone runs away.
6. Antigone is hurt by what has happened and decides she has nothing to lose, so she buries Polynices by herself.
7. Antigone comes home very early in the morning and the nurse finds her.

Interesting stuff I found:
Antigone seems to have a problem with being straight forward. It seems as if she is constantly avoiding the truth. First we see this behavior repeatedly with the nurse, but then again when Antigone is speaking to Ismene on page ten. Ismene says to Antigone "Why do you insist upon talking about other things?" whenever she is asked a question. This type of dishonesty or deception could be a potential theme in the play.
I also began to tract the repetition I saw. We see the repetition with "waiting" first on page seven, then again with the word "ogle" on page eight. It seems as if Jean Anouilh uses a lot of repetition in his writing.
Lastly, I noticed a reference to an apple on page nine. In class we discussed how apples are a motif in the play and apples are used during live theater productions.

Antigone Journal 1

For the stage, I picture the characters sitting on elaborate and enormous steps, such as the steps leading up to the Trinita dei Monti Church in Rome. The steps must be large enough to fit eleven people, as well as 15 chorus members. I have chosen to go with the traditional route by selecting 15 chorus members.  I thought it would match the setting with the elaborate steps. The chorus members will take turns reading paragraphs in unison, with about 3 people per paragraph, and they will read almost as if they are singing, in a clear and dream like manner. This will create a sense that the chorus members are not actually there, but are simply guiding the audience through the story.
Next, I have selected actors whom I thought would do an excellent job of portraying the characters. For Antigone, I have selected Kaya Scodelario. Kaya Scodelario is a young actress, who usually portrays feral, but melodramatic characters in film and in television. From the passage describing Antigone, it seems as if she is melodramatic about her life and especially towards death.
For Haemon, I have selected the actor Aaron Johnson. Haemon is described as an athletic man who is a womanizer, but also an unpredictable man when it comes to marriage. Not only is Aaron Johnson very fit, but he has  also made strange marriage choices, which shocked everyone, just as Haemon did.
To play Creon, I have selected Daniel Day-Lewis. Creon is described as a cruel man after the death of Eteocles. Creon left the corpse's body out to rot in a heartless manner. Daniel Day-Lewis is an extraordinary talented actor and is good at taking on roles where his character possesses authority. Daniel Day-Lewis is also skilled at playing complex characters with two sides and from the descriptions of Creon, he is illustrated once as a man of indifference, but when he is talked about on the next page, Creon is illustrated as a callous man.
For Creon's wife Eurydice, I have chosen Judi Dench. Eurdydice is described as an old lady who just sits around and does nothing of importance. Judi Dench is an older actress who often plays characters in film who just sit back and accept whatever they are told. It seems as if Eurydice displays these obedient traits.
Lastly, to the play the Messenger, I have selected Tom Felton. Tom Felton is an actor who is excellent at bringing catastrophe to the lives of the protagonists. In Tom Felton's roles, he does not play the "bad guy", but because he is the one to deliver the pain to people's lives, he is viewed as the villain. It seems as if the Messanger is in the same position.

1984, Journal 3

Cultural connections.

The novel 1984, by author George Orwell, was heavily influenced by World War II. Written in the 1940s, Orwell incorporated allusions to historical World War II figures. The name of the protagonist, Winston Smith, is an allusion to former British Prime Minister Winston Churchill who was in office during World War II. Churchill was an motivational man who  fought for his beliefs. Churchill knew the consequences were high for Britain near the end of the war, but he stuck to what he believed was right. These traits can be seen in Winston Smith as well. Winston knows the consequences of not staying loyal to the Party are deadly, but he follows his heart nonetheless.

Orwell also alludes to Soviet Russian dictator Joseph Stalin. The description of Big Brother, "the face of a man if about forty-five, with a heavy black mustache and ruggedly handsome features" (1) resembles Stalin almost exactly. Big Brother's slogan "BIG BROTHER IS WATCHING YOU" relates to Stalin as well. Stalin ruled a totalitarian government, which monitored the actions of its citizens closely. Lastly, Stalin's Great Purge is also illustrated through Big Brother. Hundreds of people were "vaporized" because the government deemed them as a threat, just as Stalin did in the Great Purge.

Another cultural connection I found was Big Brother's foil, Emmanuel Goldstein. Goldstein is an allusion to Leon Trotsky, Stalin's enemy. Trostsky strongly opposed Stalin and on numerous occasions, formed groups, or "brotherhoods" to take down Stalin. Goldstein strongly opposed Big Brother as well and formed the Brotherhood to take Big Brother out of power.

Lit Terms

Blogspot had an "error" and deleted my post, so I am doing them again.

Oxymoron -
Example from 1984:
"Freedom is slavery" (4).
This is an oxymoron because freedom and slavery are contradictory words that do not make sense together. It is impossible to be a slave and have freedom at the same time. The author George Orwell uses this technique to show the brainwashing tactics the government used on the citizens of Oceania.

Paradox -
Example from 1984:
"Ignorance is strength" (4).
This quote is a paradox because ignorance and strength contradict each other; all the while, they are possible. It is possible to be ignorant, but have strength. Strength can be physical too. Once again, Orwell uses this paradox to illustrate the brainwashing tactics used on the citizens of Oceania.


Repetition -
Example of repetition from Their Eyes Were Watching God:
"What killed this man?
The chorus answered, 'Bare, bare fat'
What killed this man?
'Bare, bare fat'
What killed this man?
'Bare, bare fat'"
Author Zora Neale Hurston uses repetition with the phrases "what killed this man" and "bare, bare fat" for emphasis. In the scene, buzzards are chanting over the body of a dead mule and the repetition creates a sense of anxiety. Chants are shouted during times of anticipation and through repetition, Hurston is creating this image right before the buzzards attack the mule's body.


Personification -
Example from Their Eyes Were Watching God:
"She was stretched on her back beneath the pear tree, soaking in the alto chant of the visiting bees, the gold of the sun and the panting breath of a breeze when the inaudible voice of it all came to her." (11)
Hurston uses lots of personification in her writing. In this quote, Hurston describes the breeze as "breath[ing]" (11). This personification creates the image that the breeze is alive and by having it "panting", it gives the reader an image of an old man out of breath.

Caricature -
Example from 1984:
"It depicted simply an enormous face, more than a meter wide: the face of an man of about forty-five, with a heavy black mustache and ruggedly handsome features" (1).
Orwell describes Big Brother's face as large, wide and thick with a mustache. These exaggerated facial features creates a comical image in the reader's mind of Big Brother looking like video game character, such as Super Mario.


Symbol -
Example from The Stranger:
"Suddenly he stood up, strode over to a far corner of his office, and pulled out a drawer on a file cabinet. He took out a silver crucifix which he brandished as he came toward me."
Camus uses the crucifix as a symbol of Christianity. In The Stranger, Camus has created an absurdist world, in which everything is purposeless and irrational. The crucifix symbolizes structural beliefs in general, including religion, which is considered purposeful.

Structure -
In the novel 1984, Orwell has divided the book into three separate parts. Each part of the book depicts a different stage in Winston's life. The first part is Winston learning about the truth behind the Party, the second part is Winston's understanding of the Party and the last section is Winston's acceptance of the Party. This structure helps divide the novel up and make it easier for the reader to take in all of the information.

Assonance -
Example from 1984:
"The house is surrounded" (222).
The sound "ou" is repeated twice in the same sentence, therefore making it an assonance. The repetition of sound places on emphasis on those certain words.

Juxtaposition -
Example from 1984:
"...instead of the eyes of the girl, the eyes of the aged prisoner gazed mournfully at Winston out of nests of hair" (117).
In this quote, the eyes of the girl are being compared to the eyes of the prisoner. They are placed side by side in the same sentence to show the contrast.

Ambiguity -
Example from 1984:
"By 1970 none of them was left, except Big Brother" (75).
In this example, "them" is ambiguous. It has more than one possible meaning in the context of the book. "Them" could be referring to the citizens of Oceania, the Brotherhood,  or past political leaders.

Euphemism -
Example from 1984:
"You were abolished, annihilated: vaporized was the usual word" (19).
Saying someone is "vaporized" is the politically correct way of saying that someone has been executed by their government in the novel. Saying "vaporized" also sounds less aggressive than saying killed or murdered.

Chronology -
Example from The Stranger:
"I went down, bought some bread and spaghetti, did my cooking, and ate my meal standing" (29).
Written from the perspective of Meursault, Camus uses the technique of chronology to show the sequential order Meursault does things. This technique helps characterize Meursault as a precise man.

1984 Journal 2

In this passage, Winston is sitting in Chestnut Tree Cafe drinking Victory Gin. A telescreen above him is blaring news of the war, claiming Oceania has just killed its war prisoners from enemy nations. Winston, sitting in a dreamy state, is reflecting back on his imprisonment in the Ministry of Love. He reminisces back to the white-walls of his cell and guards that surrounded him. For a split second, Winston dreams of death and begins to wish for it. Then suddenly, Winston looks up at Big Brother's face and sees a kind smile behind the black mustache. This is the first time Winston has ever seen Big Brother as a benevolent man and he begins to beg for forgiveness from Big Brother. The passage ends with Winston tearing up and finally admitting himself to Big Brother by declaring his love for him. This passage is located between the pages 297 to 298.

Significance: In this passage, we get an insight to the setting. Not only we see where Winston lives, but we also get a taste of the government that rules. By having the telescreens blaring, Big Brother's face watching and the reference Winston makes to his imprisonment in the Ministry of Love, we can tell Winston lives in a totalitarian state where his every move is watched.

Significance: Winston's action of giving up characterizes him as a man who succumbs to pressure. After years of being told that he is wrong, Winston gives in and accepts what the government says, instead of sticking his own beliefs, even though he knows he's right.

Significance: This passage ties in with the theme of the dangers of a totalitarian, or over controlling government in general. Winston has given up and lost his individuality for Big Brother. In a totalitarian state, citizens do not have the personal freedom to be individuals.

Significance: Orwell incorporates his unique writing style in this passage by using the technique of repetition. He begins each sentence by exclaiming "O" (297).  This repetition illustrates Winston's exasperation and him finally giving up to Big Brother.

Significance: Lastly, this passage shows how Big Brother will always win, just like O'Brien warned Winston.

Journal Comments

To Amy:

Sara Golestaneh said...

I hadn't thought about the specific numbers/measurements elements at all! Do you think Orwell uses this to characterize Winston as a precise man?
I also like how you talked about the poster of Big Brother being personified. It makes you question if Big Brother is even a real person or not. It seems like the totalitarian government has done a good job of installing fear in the hearts of people by having his haunting face every where.

To Thomas:

Sara Golestaneh said...

I didn't notice the significance of the name The Victory Mansion before, but you have a cool analysis. I agree with that you said about the name of Hate Week though. It seems as if the totalitarian government is telling people "you have to feel hatred". What do you mean when you say "socialistic party"? It's cool idea and you should expand on it more.

To EJ:

Sara Golestaneh said...

It's cool how you connected it to numbers and measurements as well! I didn't even think of that before.
I like how you highlighted the size words like "big". I think it's a really cool idea and you should expand on it more.

1984, Journal 1

"The hallway smelt of boiled cabbage and old rag mats. At one end of it a colored poster, too large for indoor display, had been tacked to the wall. It depicted simply an enormous face, more than a meter wide: the face of an man of about forty-five, with a heavy black mustache and ruggedly handsome features. Winston made for the stairs. It was no use trying the lift. Even at the best of times it was seldom working, and at present the electric current was cut off during daylight hours. It was part of the economy drive in preparation for Hate Week. The flat was seven flights up, and Winston, who was thirty-nine, and had a varicose ulcer above his right ankle, went slowly, resting several times on the way. On each landing, opposite the lift shaft, the poster with the enormous face gazed from the wall. It was one of those pictures which are so contrived that the eyes follow you about when you move. BIG BROTHER IS WATCHING YOU, the caption beneath it ran" (1)

The imagery that Orwell uses right off the bat in the first sentence creates an eerie, almost foul mood for the text. The words "boiled cabbage" and "old rag mats" gives the reader the idea that everything is old, forgotten and not taken care of. Orwell then goes on to describe the face of Big Brother and illustrates the importance of the propaganda poster. By saying it was a "colored poster, too large for indoor display" in a run-down building almost falling apart shows that the only thing people care enough about is to take care of the poster. This stresses the idea that people care more about Big Brother than their own lives. Also, Orwell's description of Big Brother's face creates the image of power. In history, "black mustache[s]" are associated with powerful leaders and politicians. The idea with the broken "lift", which is slang for an elevator in British dialect, connects with the idea that everything is old and falling apart, and instead of fixing it, people devote their lives to Big Brother. Orwell then introduces the concept of Hate Week. Orwell's strong word choice for "Hate" could be a possible hyperbole or it could be used to show the control the totalitarian government had over the people. Basically by calling it "Hate Week", Orwell is implying that the government is telling the people that they must feel hatred. Orwell then carries onto describing Winston, who is the protagonist in the novel, and his varicose ulcer. Ulcers can often be caused by stress, which helps characterize Winston as a man who worries and questions the set doctrines place by Big Brother or the totalitarian government. Orwell finishes the passage off by stating Big Brother's slogan of "BIG BROTHER IS WATCHING YOU". The Big Brother slogan has a very threatening tone. 

The Stranger, Cultural Journal

French Occupation of Algiers 

France controlled Algeria from 1830 to 1962 and in 1954, Algerians revolted for freedom. The Stranger takes place about ten years before the Algerian War during the time period where tensions between the French immigrants and native Algerians were at an all time high. Camus portrays this tension through Meursault and Raymond's discriminatory behavior towards the Arabs. An example of this is when Meursault says "When he told me the woman's name I realized she was Moorish" (32). I did some extra research and discovered that in European culture, especially French and Portuguese, calling a Muslim a Moor has become an offensive term in the past 100 years. Meursault calls the woman a "moor" so casually, almost without a thought, which shows how the French immigrants were raised/taught to use derogatory terms towards Arabs. Camus illustrates how the Arabs were viewed as second-class citizens. 

Camus also spotlights this discrimination through Meursault's interpretation of the Arabs. The Arabs are often described as standing affair, not doing anything, yet Meursault sees them as a threat. A prime example of this is "I saw a group of Arabs leaning against the front of the tobacconist's shop. They were staring at us in silence, but in that way of theirs, as if we were nothing but stones or dead trees" (48). When Meursault says "in that way of theirs", Meursault is stereotyping Arabs as all behaving the same. Meursault speaks of the Arabs as if they were criminals, just for staring or looking at something. Camus creates this racism to show the reader how the French immigrants were raised to perceive Arabs as less than themselves. 

The Stranger, Journal 6

1. "it had been decided by men who change their underwear" (109)
2. "the guillotine is on the same level as the man approaching it" (112)
3. "But everybody knows life isn't worth living" (114)
4. "I had to free myself" (118)
5. "I was guilty" (118)
6. "It was all the same" (120)
7. "cries of anger and cries of joy" (120)
8. "nothing mattered" (121)
9. "the gentle indifference of the world" (122)
10. "meant nothing to me" (121)

But everybody knows life isn't worth living
So I had to free myself
The guillotine is on the same level as the man approaching it
I was guilty
Nothing mattered
The gentle indifference of the world
It was all the same
I was guilty
It had been decided by men who change their underwear
I was guilty
Cries of anger and cries of joy
Nothing mattered
I was guilty

The Stranger, Journal 5

The first stylistic difference I noticed in Part 2 was that the sentences were longer. In Part 1, rarely would you see a sentence with a comma, or a semicolon. Each sentence usually only contains one single idea and is short and choppy. An example of this from Part 1 is "I worked hard at the office today. The boss was nice" (25). Camus could of conjoined the sentences and made it one fluid statement, but instead  he chose to create two separate sentences. This gives the writing an almost monotonous effect. But in Part 2, the sentences are longer and much more fluid.  An example of this is "It was getting hotter, and I could see the people in the courtroom fanning themselves with newspapers, which made me a continuous low rustling sound. The presiding judge gave me a signal and the bailiff brought over three fans made of woven straws which the three judges started waving immanently" (86-87). Right away there is a noticeable difference in sentence structure and length. In Part 2, Camus seems to be using more description in his writing. He gives details about simple things like the "low rustling sound" and the "woven straws". Before it seems, Camus had Mersault focus more on the big picture, but in Part 2, Mersault notices minor details.
The biggest difference I found in Mersault was his sudden acceptance of societal norms. A prime example of this is "The policemen told me we had to wait for the judges and one of them offered me a cigarette, which I turned down" (82). Earlier on in the novel, Mersault smoked at his mother's vigil, even though it was condemned wrong by society. Now, it seems Mersault is aware of what society expects from him and he rejects the cigarette. He knows he shouldn't smoke in this certain situation and he confines to the expectations. Another example is "And again I almost thanked him. But I thought that would be ridiculous" (84). Before in Part 1, Mersault was very blunt and said whatever came to his mind, no matter how ridiculous it was. Mersault now seems to pay attention to what he says and chooses to not say anything that may be condemned different, or weird. This shows that Mersault is beginning to follow societies rules.
Mersault's behavior also seems to become more emotional. For the fist time, Mersault expresses the need to cry, when he says "For the first time in years I had this stupid urge to cry" (89-90). In Part 1, Mersault gets annoyed by people who cry or show too much emotion. It seems as if Mersault has switched roles with the minor characters, and he is now possessing qualities like being melodramatic, which are characteristics that he once despised in them.
Mersault describes the setting in a longing way, almost making the reader feel terrible for him. Mersault was always very in touch with his surroundings and showed deep appreciation for the simplicity of the city. Mersault has a desperate tone while talking about the city in Part 2. He says things like "assailed by memories of life" (104). Assail means a violent attack or a physical sensation. Mersault feels like his memories of the past are attacking him and he seems to feeling hopeless. Camus uses Mersault's description of the world to portray Mersault's desperation.

The Stranger, Journal 4

5. What symbolic role does the sun/light play in the novel? What theme does it connect to?

"I was absorbed by the feeling that the sun was doing me a lot of good" (50).

This is the ONLY time the sun is talked about positively from Mersault. 

"The was the same as it had been the day I'd buried Maman, and like then, my forehead especially was hurting me, all the veins throbbing under my skin" (58-59).

"I wanted to hear the murmur of its water again, to escape the sun and the strain and the women's tears, and to find shade and rest again at last" (57). 

"Once out in the street, because I was so tired and also because we hadn't opened the blinds, the day, already bright with sun, hit me like a slap in the face" (47). 

"By now the sun was overpowering (55).

"The sun glinted off Raymond's gun as he handed it to me" (56).

"He was lying on his back, with his hands behind his head, his forehead in the shade of the rock, the rest of his body in the sun" (58).

"And this time, without getting up, the Arab drew his knife and held it up to me in the sun" (59)

"The trigger gave; I felt the smooth underside of the butt; and there, in that noise, sharp and deafening at the same time, is where it all started. I shook off the sweat and sun" (59).

It seems like once he killed the Arab, the sun stopped bothering him. Relief?

First quote to analyze: "She said, 'If you go slowly, you risk getting sunstroke. But if you go too fast, you work up a sweat and then catch a chill inside the church.' She was right. There was no way out" (17).

In this quote, the nurse is speaking to Mersault about the unrelenting sun following them on the day of Mersault's Mother's funeral. Mersault takes a different spin on the nurse's words though. Mersault thinks of the sun as something unavoidable. He is constantly being followed by the sun's rays and when Mersault says "there was no way out" (17), this implies Mersault's understanding that there is no escape from the sun. The sun represents destiny, but  more specifically, when a human is chosen to die. Mersault realizes that every man is born with a same destiny and that destiny is death. Every man must die and until that point, they will be followed by the unavoidable sun. This quote shows Mersault coming to terms with the inescapable fact that that every life must end in death.

Second quote: "Once out in the street, because I was so tied and also because we hadn't opened the blinds, the day, already bright with sun, hit me like a slap on the face" (47).

Mersault trying to avoid the sun by saying "we hadn't opened the blinds" (47). Mersault is haunted by the idea that the sun is inescapable and he tries to suppress the idea. But once he does acknowledge the bright sun, he is "slapped" on the face (47). Obviously Mersault is not literally slapped by the sun, but he is once again awoken to the realization that the sun is still there watching over him. His destiny of death is still awaiting him and to Mersault, this harsh realization is like a slap on the face. Also, later on in the novel when Mersault is about to shoot the Arab, Mersault states that the sun is "cutting" his eyes. Mersault often uses graphic and violent language to describe the sun. Mersault thinks of the sun as the enemy.

The Stranger, Journal 3

All titles of the book The Stranger, The Foreigner, and The Outsider to me represent someone who has not adapted to the norms of society. Basically they are different, so they are being called an "outsider", a "foreigner" or even a "stranger". These titles of the book can be connected to two different characters. One connection I made was to Mersault. Mersault knows what the social normalities are in society and he knows that he should follow them, but he still completely disregards them. In a sense, Mersault is a stranger and an outsider to the world. He does not fit in. Also, Mersault is technically a foreigner. Mersault is of French descent and he lives in Algeria, an Arab nation occupied by the French. Mersault is a foreigner who has taken over Arab land and is part of the white race that dominates Algeria.
I also viewed the "Arab" as the stranger, the outsider, or the foreigner. Camus never identities who this Arab is and he never even gives him a name. I found this odd because this Arab plays such a vital role in the novel, yet he is a complete stranger to us. We have no idea who he is and what he is even doing at the beach, yet Camus is able to create this Arab out to be a criminal. During the 1940s, all Arab Algerians were looked upon as outsiders by the higher class, which mainly consisted of the French. Arabs were outsiders and foreigners of society, even though Algeria was their native land.
In my opinion, I think the title of the book connects with the nameless Arab more than Mersault, but several connections can be made for both.

The Stranger, Journal 2

Minor Characters:

The first minor character I will talk about is Mersault's boss. "The boss" is never addressed by a name, but it is obvious that Mersault highly respects him. Mersault seems to be afraid to disappoint his boss, for when he was gone for his mother's funeral, Mersault actually sympathized with his boss for being upset by him missing work. I found this very odd. Also, while Mersault talks about his boss, he usually says things like "The boss was nice" (25). Mersault has never spoken about his boss negatively.  Mersault and his boss also seem to share common characteristics. When Mersault's boss asked how old Mersault's mother was, Mersault simply answered with "about sixty" (25). The boss didn't bother to question why Mersault didn't know the exact age and according to Mersault, he seemed "relieved" and considered "the matter closed" (25). Just like Mersault, the boss does not bother to question people and accepts whatever people tell him. He is completely indifferent.

I examined the minor character Céleste as well. In French, Céleste means heavenly or unworldly. Calling someone "unworldly" can mean two possible things. One meaning is someone who is not aware of the realities of life. Another meaning is someone who is extremely strange. As for heavenly, it means divine, sublime or delightful. What I found interesting was that Céleste is actually the one to defend Mersault in court and stick by his side, so in Mersault's eyes, Céleste could be "heavenly". Céleste is one of Mersault's only loyal friends.

Raymond Sintes is the final minor character I examined. Right off the bat, I noticed how manipulative Raymond is. Mersault is easily persuaded and not very opinionated, so Raymond uses that for his own advantage, especially when convincing Mersault to write a letter to this woman (who may be a prostitute) to lure her in, so Raymond can seek revenge. Raymond is also extremely violent and he justifies beating a woman by saying "I realized she was cheating on me" (30). Mersault and Raymond serve as foils for each other.

I noticed two cultural connections in chapter three, one of them being with Mersault's work ethic. In French work ethic, it is normal to have lunch breaks lasting longer than two hours. It is part of French culture to take naps, go to cafes or spend time with friends during this time. Unlike American work ethic, lunch breaks are a half hour and extremely rushed. The French lifestyle is much more relaxed.
Another cultural connection I saw was when Mersault calls the woman Raymond is sleeping with as "moorish". Moors were people of Arab descent who lived in North Africa, many Moors were also Muslim. This is one of the first references we see to Arabs and Muslims in The Stranger.

The Stranger, Journal 1

Camus' character Mersault is complicated to say the least. Several times while reading, I found myself wanting to scream because of how ridiculous Mersault's actions are. Mersault is incredibly lazy and he is literally thinking of sleep 24/7. Even after finding out about his mother's death, Mersault's first reaction is to sleep. Normally a person would be distraught, but on the way to his mother's funeral, he "dozed off", not even seeming to care (4). I began to count how many times Mersault thinks about sleeping and how he desires sleep at the strangest times. While everyone around him is weeping, Mersault is "tired" and he "[dozes] off again" (11). It is obvious that the death of his mother is not having much of an impact on him, for people who have a lot on their mind tend to have difficulty sleeping. Mersault almost seems completely emotionless.

Another thing regarding emotions I found interesting was how Mersault gets annoyed by people showing too much emotion. During his mother's vigil, a friend of Mersault's mother is weeping and Mersault becomes irritated by her. He says "I wish I didn't have to listen to her anymore" (10). Instead of feeling sympathetic or even feeling mournful himself, he becomes agitated by the people around him for showing emotion.

Yet another recurring idea I found was how quickly Mersault sees the beauty in things, which I found odd. An example of this is when Mersault is drinking coffee next to his dead mother's body in the quote "It was pleasant; the coffee had warmed me up, and the smell of flowers on the night air was coming through the open door. I think I dozed off for a while" (9). Finding something pleasant while next to a dead body is a strange notion, especially when the body is of a person's loved one. On top of that, the imagery is incredibly untimely. The smell of flowers while next to a decaying body in the heat? 

The last recurring idea I will talk about is how Mersault constantly says words or phrases referencing to a court room. He says words like "judge", "fault", "guilty", "criticizing",  and "justify" while speaking about his mother. His word choice almost makes him seem guilty for this mother's death, even though it was not his fault at all. This could be potential foreshadowing for the end of the book.

"Their Eyes Were Watching God": Journal 7

Theme words:

• Power/Control
• Religion
• Death
• Jealousy 
• Time/waiting
• Race
• Memories
• Doubt
• Dreams
• Fears
• Loneliness 
• Work/Money
• Gender roles
• Pride
• Social classes
• Hope
• Anger
• Grief
• Desperation
• Independence

Power:
In the novel Their Eyes Were Watching God, author Zora Neale Hurston suggests that it is human nature to desire power and control over those weaker than us, as shown through the relationship between races, as well as the marriage between Jody and Janie.

Gender roles:
Through Janie's marital relationships, Hurston suggests that in marriages, men often have dominance over women and control majority of the aspects in their day to day life.

Dreams:
Author Zora Neale Hurston suggests that in the end of the day, a human will always follow their true dreams, no matter what the consequence may be.

"Their Eyes Were Watching God": Journal 6

EXTREMELY Rough Outline:

1. Hurston uses ambiguity, dialect, euphemisms, mood, tone, syntax, personification, imagery and figurative language to depict Janie's true fears of dying a lonesome death.

2. In the first paragraph, Hurston portrays Janie's regret towards waiting for her fantasized ideals of love through ambiguity and euphemisms to soften the hard truth.

3. In the first few sentences of the second paragraph, Hurston uses personification and imagery to give the audience an image that Janie's thoughts and fears are a permanent memory of the past in her mind that continue to linger on with her.

4. The last half of the second paragraph switches into first person point of view, which gives the reader a personal experience with Janie through Hurston's use of dialect.

5. In the last paragraph, Hurston uses figurative language in describing Tea Cake's homecoming as a symbol of return for Janie's hope.

6. In the middle of the paragraph, Hurston plays with color imagery to represent the changes in Tea Cake's personality.

7. In the final lines of the paragraph, Hurston reinstates Janie's fears of waiting for love and dying a lonesome death because of it.

Comments:

To Hana: I like how you talked about the change in Hurston's tone towards the sun. Hurston, up until this point, used the sun as a representation of a new beginning, but I think you are right in that she now shows pain and desperation towards it. Maybe Janie is now desperate for a new beginning, so Hurtson is referencing to the sun to show this?

To Clara Dunklee: This is a very strong analysis! I would never be able to come up with these things on my own! I like how you talked about love killing Annie Tyler. I also like how you referenced it back to the beginning of the book when Hurston talked about dreams. It's interesting how these character's dreams will eventually kill them - Annie's dream of true love; Jody's dream of being a man of power and eventually dying from being weak, etc. 

For the "dying in peace" part, I thought Hurtston was using a euphemism  to simply say that she was dying a slow death and that her daughter was once again taking care of her. I do agree though that Janie is reflecting and in a way, scaring herself into thinking that she is going to be just like Annie Tyler. 

To Vlada: It's cool how you focused on imagery! Your analysis on the imagery of the sun is something I never thought of. Your approach to the color description that Hurston uses is extremely creative as well. I never thought of the "white" meaning serious before, but it all makes sense. When I first read it, I thought the color description of red  representing attraction and white representing the fear that Janie develops with Tea Cake about him leaving her. 

"Their Eyes Were Watching God": Journal 5

"They put her to bed and sent for her married daughter from up around Ocala to come see about her.  The daughter came as soon as she could and took Annie Tyler away to die in peace.  She had waited all her life or something, and it had killed her when it found her.
      The thing made itself into pictures and hung around Janie's bedside all night long.  Anyhow, she wasn't going back to Eatonville to be laughed at and pitied.  She had ten dollars in her pocket and twelve hundred in the bank.  But oh God, don't let Tea Cake be off somewhere hurt and Ah not know nothing about it.  And God, please suh, don't let him love nobody else but me.  Maybe Ah'm is uf fool, Lawd, lad dey say, but Lawd, Ah been so lonesome, and Ah been waitin', Jesus.  Ah done waited uh long time.
      Janie dozed off to sleep but she woke up in time to see the sun sending up spies ahead of him to mark out the road through the dark. He peeped up over the door sill of the world and made a little foolishness with red, but pretty soon, he laid all that aside and went about his business dressed all in white.  But it was always going to be dark to Janie if Tea Cake didn't soon come back.  She got out of the bed but a chair couldn't hold her. She dwindled down on the floor her head in a rocking chair."

I highlighted the light blue words because I thought it was an interesting contrast in word choice. Hurston often does this with words.

I highlighted the purple for no specific reason, but I found that line to be interesting. In a way, it's foreshadowing for Janie. Although Janie does not die, her eternal quest for love will eventually be the thing that destroys her as well.

The yellow I highlighted represents imagery. The words "pictures and hanging" made me envision Janie's thoughts like a dark cloud, or bad memory that is captured inside of her and won't go away. Also, the word laughing appeals to my hearing sense, so I actually imagine people laughing at her in Eatonville if she were to return. 

The green highlighted text shows the sudden change of point of view. Hurston goes from third person point of view to first person in the same paragraph, which ties in with syntax. Hurtston switches points of view often, so that gives the reader the effect that they are getting more of an insight into Janie. The green also represents dialect. Hurston goes from fluid and formal writing to choppy, informal and almost in a way, uneducated writing. 

I am having a difficult time taking the orange highlighted text apart. Sun is usually used as a symbol in Their Eyes Were Watching God to represent a new beginning, but judging by that text, I'm not sure if that's what Hurston is trying to imply. 

The dark blue words are repetition. Hurston repeats darkness.

The red text is interesting because of Hurston's play with color imagery. In past English classes, we learned that red usually represents things like attraction or sexuality. So that got me thinking maybe that's what Tea Cake is to Janie. He is much younger and attractive and that's what lured Janie in. But after Janie got to know him, he realized that he is much more bland and that's where the "white" comes in.

The last sentence, in the dark purple, gives the reader a sort of helpless mood. The way she "dwindles on the floor" make me feel bad for Janie. Even after "running away" with Tea Cake, she is still lonely. 

Also, I don't know why the text is randomly being highlighted white..........

"Their Eyes Were Watching God": Journal 4

Yet Marcus started to contemplate Bravery. Bravery, that handsome lion with the elegant mane who roamed in the dark jungle. The wise one who fostered your loving heart like a white blank page without words to it, and without a reason. What use does Bravery have for hiding, and what dangers cannot face him? He rests on the peak of danger that over sees all the people. Rests alert and composed all night with his paws drawn back, waiting for the villain to make his move. Continue resting there before there was a why or a how or a then. He was bound to find a note from his enemy hidden with a victim any day now. He was anxious and distant too. Poor Winston! He ought not to burden the stress all by himself. He tried offering a helping hand, but Winston Refused. The towns people had their knickers in a bunch with the mad-man on the loose, but they had been blinded by the lies they saw on telly. He would be safe just as soon as the bloody fool stopped his evil actions. He wasn't going to end his life soon. That was what struck him. And the people warned him differently, but he knew. And then if he hadn't, the following dawn he discovered the truth, for the villain had carried out his plans and people hid helplessly under the the rising sun. People who would once have stayed and fought now fled to the country. Just wept under the ruins of their city and witnessed. Anger, that menacing monster, had destroyed the world.

"Their Eyes Were Watching God": Journal 3

I find Jody Starks to be absolutely fascinating. Out of all the characters in the book, I find his complex ego and complete lack of affection for Janie to be one of Hurston's most interestingly characterized characters. I would like to bring attention to the quote "That was because Joe never told Janie how jealous he was. He never told her how often he had seen the other men figuratively wallowing in it as she went about things in the store. And one night he had caught Walter standing behind loose end of her braid ever so lightly so as to enjoy the feel of it without Janie knowing what he was doing. Joe was at the back of the store and Walter didn't see him. He felt like rushing forth with a meat knife and chopping off the offending hand. That night he ordered Janie to tie up her hair around the store" (55) because it shows how possessive and controlling Joe is. In this quote especially, Joe's thoughts make it seem like Janie is more of his property than a woman he loves and respects. Hurston characterizes Joe as a man who must always be in power. If he doesn't feel a sense of power, then he retaliates and often takes it out on Janie. What I also found interesting about this passage was that this was one of the first times the narrator spoke from Joe's perspective. Hurston heavily focuses on the characterization of Joe in chapter six through his verbal and physical actions towards Janie.

"Their Eyes Were Watching God": Journal 2

I have selected the following passage to do my journal entry on:

"The burst of applause was cut short by Joe taking the floor himself.
'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.'
Janie made her face laugh after a short pause, but it wasn't too easy. She had never thought of making a speech, and didn't know if she cared to make one at all. It must have been the way Joe spoke out without giving her a chance to say anything one way or another that took the bloom off things. But anyway, she went down the road behind him that night feeling cold. He strode along invested with his dignity, thought and planned out loud, unconscious of her thoughts." (43)

The first technique I am going to touch base on is imagery. Once again the word "face" is used and Hurston uses Janie's facial expressions as a way to convey her true emotions. Obviously, Janie is hurt by what Joe has said and she forces a laugh. Hurston does not abruptly say "Janie is hurt by Joe's words", she instead creates mental images through imagery and gives the reader an even deeper understanding of Janie's pain.

The second technique I am examining is epiphany. All of a sudden, Janie realized that Joe may not be the man she ran off. Janie is naive and easily blinded by love, and she finally surfaced back to reality by the few simple words that escaped Joe's mouth. The quote "It must have been the way Joe spoke out without giving her a chance to say anything one way or another that took the bloom off things" (43) is what really stood out to me in the passage. It seems as if Janie is finally grasping an understanding of what kind of man Joe really is. He isn't the well dressed, good-looking, and sweet-talking gentlemen anymore. Instead she sees this ignorant and controlling aspect of him that scares her.

My second technique leads me onto my third that I have selected, which is Joe becoming the antagonist in Janie's story. He literally went from being the good guy to the conflict in Janie's life within 10 lines. Janie is seen as the protagonist and since we often feel our emotions in the story through her, we begin to develop this sort of disloyalty towards Joe with her.

Tone: Condescending and honest

Mood: Sympathetic

I chose this passage because to me, it showed a lot about Janie and who she is as a person. Janie is gullible and falls into people's traps. She is very innocent and still like a child in a way. She is dependent on others taking care of her. I thought this passage was important because for the first time in the book, I saw Janie starting to developed mature emotions. She had an epiphany about Joe and began to see the world as it really is and this is the beginning of her starting to take action to prove her independence.

"Their Eyes Were Watching God": Journal 1

While reading the first four chapters of Their Eyes Were Watching God, one of the first things that caught my attention was Janie's complex vision of love and her need to be loved. In her Grandmother's eyes, Janie's perception of love is, for a lack of a better word, crazy. Janie's Grandmother believes that marriage is more about profit than anything, as shown in the quote "If you don't love him, you sho oughta. Heah you is wid de onliest organ in town, amongst colored folks, in yo's parlor. Got yo house bought and paid for and sixty acres uh land right on de big road and...Lawd have mussy! Dis love! Dat's de very prong all us black women gits hung on" (23). Janie's Grandmother thinks that love means nothing compared to wealth and fortune. Janie, on the other hand, has a youthful approach to love. She wants a husband who is young, spirited in life and believes in change, basically the polar opposite of what Logan Killicks is. Janie uses interesting figurative language in describing Logan Killicks as well. She calls him an "ole skullhead" (13), but that is just the beginning. She goes on to using amusing similes like "his toe-nails look lak mule foots" (24).

Some questions that arose for me while pondering about Jamie's perspective of love are: Is Janie's desire to be loved caused by the lack of her father in her life? Maybe she seeks love to compensate because she never really knew her true mother? Or will Janie's view of love ultimately be her downfall?

Another thing I found interesting about Janie's perception of love is that Hurston often symbolizes it through nature, one of the more specific examples is the "pear tree" and she constantly references to it. The quote "Ah wants things sweet wid mah marriage lak when you sit under a pear tree and think. Ah..."(24) shows Janie's affection and understanding of the Earth. Another quote that stood out to me was "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. So this was a marriage" (11). This was the first time Janie experienced love. At the age of sixteen, she of course began to think about marriage and the desired it. Janie chases after the ideals of a perfect marriage and true love pretty much for the rest of her life. Hurston has a devotion towards mother nature and symbolizing love through it and I picked that up while reading. She uses tons of personification while describing it as well. "The rose of the world was breathing out smell" (10) was one that stood out to me. Not only is it beautifully written, but it makes you think. Janie tends to see the beauty in the world and ignores the ugly. Or she at least manages to escape the ugly.

My questions for this section are: Does Janie kiss Johnny-Taylor just because she wanted to feel loved or was there another motive? Will Hurston maintain this theme of mother nature throughout the story? Since Hurston uses ridiculous amounts of personification towards Earth, does Hurston imagine the world as an actual living thing?

My last point is completely unrelated to love, but Huston uses a magnificent amount of figurative language in the first few pages. One of my favorites is how she describes the "sitters" or village people as "tongueless, earless, eyeless conveniences all day long" (1). To me, this quote alone represents how the African Americans  still felt inferior to the white people. Doing some background research, I know this book takes place during the Jim Crow Laws, which means African Americans were segregated and lacked basic rights any human deserves. Hurston has a bone chilling description of the feelings an African American felt around its fellow men compared to how inferior they felt around the whites, "But now, the sun and the bossman were gone, so the skins felt powerful and human. They become lords of sounds and lesser things" (1).  When they were in Eatonville, they could be themselves without fear of the white man. Hurston also talks about how the "sitters" "sat in judgement" (1), so this got me to thinking, are the sitters tired of being judged themselves, so they are taking it on someone else? Maybe the women look at Janie and think "I wish I had her independence"?
Hurston's figurative language expressing the gossip from the town's people is terrifying. She turns positive things such as laughing into murder tools and questions into burning statements in the example "They made burning statements with questions, and killing tools out of laughs. It was mass cruelty" (2). The contrast Hurston uses between words of a dark nature and words of a positive nature is astounding.

I wonder if Hurston will continue with this pattern of Light vs. Dark words? Did Hurston mean to create the image of the town's people being "evil"? Will Hurston ever elaborate more on the inferiority the African Americans felt?




Wow, this was hard, but definitely made me think A LOT.. Hopefully journal entries will get easier as time goes on!