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Hamlet Socratic Seminar Prep Materials

"Their Eyes Were Watching God Essay, Final Draft"

Alex Lebowitz

Mrs. Nichole Wilson

AP Literature & Composition

16 December 2014     

Self-Actualization Achieved Through Mutual Respect

In, Their Eyes Were Watching God by Zora Neale Hurston, a recurrent clash against an unbending social order and destitute position marks the coming-of-age story of Janie Woods, a mixed African-American woman, up against enormous odds including poverty, womanhood, and race.  In successfully negotiating obstacles throughout her life including broken marriages, obvious racism, and inherent oppression, it is argued that Janie’s new-found sense of happiness in the end of the novel embodies her transcendence to self-actualization in recognizing her inherent, undying love for her former husband Tea Cake.  The inspiration for Janie’s love for Tea Cake is based on Tea Cake’s unique temperament, marked by his desire for mutual respect and his ability to treat Janie as an equal, and ironically outweighs his and other men’s shortcomings in physically and emotionally abusing Janie. 

            In matching Janie’s desire to be treated as an equal, Tea Cake inclusion of Janie in his daily activities and life allow for Janie to achieve her initial desire in becoming an equal to her husband as well as enjoying the pleasures of the world.  In her former marriages, Janie would often be relegated to the role of the housewife, subservient to the wishes of her spouse.  In this example from Jody Starks, the inequality gap that is evident is revealed by his proclamation stating, “…Ah’m uh man even if Ah is de mayor.  But de mayor’s wife is somethin’ different again… you ain’t goin’ off in all dat mess uh commonness” (60).  Unlike Jody or Logan, Tea Cake acts and treats Janie differently.  He ultimately provides her with a greater sense of equality and respect by including her in his traditionally independent activities like gambling, when Janie demands, “Looka heah, Teak Cake, if you ever go off from me and have a good time lak dat and then come back heah tellin” me how nice Ah is, Ah specks tuh kill uh dead.  You heah me” (124).  His response includes, “…you aims tuh partake wid everything… Dat’s all Ah wants tuh know.  From now on you’se mah wife and mah woman and everything else in de world Ah needs” (124).  This full inclusion of Janie into Tea Cakes life, is unprecedented to Janie, who later becomes excited when learning to place gambling games with Tea Cake.  Its significance is marked by the indirect realization that Tea Cake is the only man of Janie’s three marriages that has gone so far to give to Janie, so as to secure her happiness.  Ironically, Tea Cake still abuses Janie much like Janie’s other husbands did.  In the beginning of Chapter 17, he slaps her to show dominance and command her loyalty to him.  In other instances where this occurred, Janie would be discontent feeling mistreated and abused as she would rightfully so.  However, Tea Cakes overwhelming influence in providing her a sense of respect and equality that no other man had provided her is enough to make her overlook Tea Cake’s outbursts and shortcomings and rationalize them as justified, when in reality they were just as wrong as any physical or emotional aggression towards women.    

            In Janie’s progression to this final stage of personal growth, the contrasting culmination of her last marriage with her other marriages reveals the power and positive influence with which Tea Cake had created for Janie.  No other marriage compared with similar resulting positivity or happiness for Janie.  Jody Stark’s marriage exemplifies an unparalleled discontent between the two spouses, “The spirit of the marriage left the bedroom and took to living in the parlor.  It was there to shake hands whenever company came to visit, but in never went back inside the bedroom against” (71).  This contrasts starkly with the intimacy between Janie and Tea Cake, in which there relationship blossomed beyond the pear tree, and provided Janie with both her need for love and for self-esteem within her marriage to Tea Cake.  Additionally, the lack of respect that each Jody Stark and Janie had given each other illustrates the inability of the couple to manage and resolve conflict, as demonstrated by Jody’s repetitive physical and verbal bullying of Janie, “You oughta throw somethin’ over yo’ shoulders befo’ you go outside.  You ain’t no young pullet no mo’.  You’se uh ole hen now” (77).  This differs sharply from Tea Cake and Janie’s management of marital troubles, especially when Janie accuses Tea Cake of cheating in which he states, “Naw, never, and you know it too.  Ah didn’t want her… Whut would Ah do wid dat lil chunk of a woman wid you around” (138).  It is obvious that Tea Cake fulfills much more than Janie’s need for love, intimacy, and self-esteem, but rather formulates a mutual respect between the two, that defines their marriage and allows for its success. 

            The most fundamental trait of a self-actualized individual involves self-fulfillment.  In Janie’s situation this is highlighted through her steadfast love for her third and final husband, Tea Cake.  However, it is revealed that Tea Cake dies at the hands of his wife, a death brought on in self-defense of Tea Cake’s illness.  Hurston describes the aftermath for Janie as, “…the meanest moment of eternity… the grief of outer darkness descended” (184).  Not only does Janie Woods experience this personal anguish in killing her own husband for her life, she faces the tragedy and humiliation of being put on trial for murder of her most beloved.  It is assumed that such unfortunate events would ruin a person forever, but not Janie.  Janie Woods is found acquitted returning to her origins in Eatonville, FL where she recites her tale to her friend Phoeby.   It is at the conclusion of this conversation that reveals the progression of psychological development of Janie since her husband’s death.  Surprisingly, it is not one of despair for her husband.  Rather, Janie describes a positive atmosphere an outlook in conveying her present feelings.  She believes that, “Tea Cake… could never be dead until she herself had finished feeling and thinking.  The kiss of his memory made pictures of love and light against the wall.  Here was peace” (193).  This final and concluding realization pays homage to Janie’s remarkable tenacity as a Mixed African-American Woman enduring the hardship of death and the equal hardship of matching the societal values of the women of her time.  It furthermore, illustrates her remarkable resolve in overcoming substantial emotional trials in the midst of tragedy, and underlies her new-found resolve and mental schema as that of self-actualization. 

"Their Eyes Were Watching God Essay, Draft 1"

            In, “Their Eyes Were Watching God” by Zora Neale Hurston, a recurrent clash against an unbending social order and destitute position marks the coming-of-age story of Janie Woods, mixed African-American, up against enormous odds including poverty, womanhood, and race.  In successfully negotiating obstacles throughout her life including broken marriages, obvious racism, and inherent oppression, it is argued that Janie’s new-found sense of happiness in the end of the novel epitomizes her transcendence to self-actualization in recognizing her inherent, undying love for her former husband Tea Cake, despite the overwhelming grief that would consume most widows in the near wake of their spouse’s death, all the more supporting the claim that Janie has managed to self-actualize in recognizing the eternal nature of love as only concluded by our very deaths. 

            In Janie’s progression to this final stage of personal growth, the contrasting culmination of her last marriage with her other marriages reveals the power and positive influence with which Teak Cake had created for Janie.  No other marriage compared with similar resulting positivity or happiness for Janie.  Jody Stark’s marriage exemplifies an unparalleled discontent between the two spouses, “The spirit of the marriage left the bedroom and took to living in the parlor.  It was there to shake hands whenever company came to visit, but in never went back inside the bedroom against” (71).  This contrasts starkly with the intimacy between Janie and Tea Cake, in which there relationship blossomed beyond the pear tree, and provided Janie with both her need for love and for self-esteem within her marriage to Tea Cake.  Additionally, the lack of respect that each Jody Stark and Janie had given each other illustrates the inability of the couple to manage and resolve conflict, as demonstrated by Jody’s repetitive physical and verbal bullying of Janie, “You oughta throw somethin’ over yo’ shoulders befo’ you go outside.  You ain’t no young pullet no mo’.  You’se uh ole hen now” (77).  This differs sharply from Tea Cake and Janie’s management of marital troubles, especially when Janie accuses Tea Cake of cheating in which he states, “Naw, never, and you know it too.  Ah didn’t want her… Whut would Ah do wid dat lil chunk of a woman wid you around” (138).  It is obvious that Tea Cake fulfills much more than Janie’s need for love, intimacy, and self-esteem, but rather formulates a mutual respect between the two, that defines their marriage and allows for its success.

            The most fundamental trait of a self-actualized individual involves self-fulfillment.  In Janie’s situation this is highlighted through her steadfast love for her third and final husband, Tea Cake.  However, it is revealed that Tea Cake dies at the hands of his wife, a death brought on in self-defense of Tea Cake’s illness.  Hurston describes the aftermath for Janie as, “…the meanest moment of eternity… the grief of outer darkness descended” (184).  Not only does Janie Woods experience this personal anguish in killing her own husband for her life, she faces the tragedy and humiliation of being put on trial for murder of her most beloved.  It is assumed that such unfortunate events would ruin a person forever, but not Janie.  Janie Woods is found acquitted returning to her origins in Eatonville, FL where she recites her tale to her friend Pheoby.   It is at the conclusion of this conversation that reveals the progression of psychological development of Janie since her husband’s death.  Surprisingly, it is not one of despair for her husband.  Rather, Janie describes a positive atmosphere an outlook in conveying her present feelings.  She believes that, “Tea Cake… could never be dead until she herself had finished feeling and thinking.  The kiss of his memory made pictures of love and light against the wall.  Here was peace” (193).  This final and concluding realization pays homage to Janie’s remarkable tenacity as a Mixed African-American Woman enduring the hardship of death and the equal hardship of matching the societal values of the women of her time.  It furthermore, illustrates her remarkable resolve in overcoming substantial emotional trials in the midst of tragedy, and underlies her new-found resolve and mental schema as that of self-actualization. 

"Linguistics & 'Terence, This is Stupid Stuff'"

2009B Poem: “Terence, This is Stupid Stuff”Prompt: The following poem makes use of the story of Mithridates VI, King of Pontus, who developed an immunity to poison. Read the poem carefully. Then write an essay in which you analyze how Housman employs literary devices in adapting the story to address concerns of the late Victorian period.

As historically recounted, the Victorian Period in England characterized a set of virtues emphasizing propriety and morality which were ultimately rejected by the English common folk in the late 19th century.  A.E. Houseman's "Terrence, this is Stupid Stuff", alludes to the social stratification of the English working class in objectifying the negative zeitgeist of the time and uses the ironic and immoral nature of alcohol and alludes to Mithridites to emphasize how this period of industrial change benefited the few and stratified the poor.

Throughout "Terence, This is Stupid Stuff", the reference to alcohol further underlines the irony in juxtaposing the late Victorian Period of morality with the immorality of alcohol.  Houseman refers to many breweries and liquors to emphasize this point, "Burton was built on Trent, livelier liquor than the muse" (18-20).  The rampant use of alcohol sharply contrasts with moral ideals of the Victorian era, which Houseman believes serves as an outlet to the despondent conditions of the working class.

In addition, Houseman makes use of the allusion to Mithridates VI, King of Dontus and his immunity to poison to illustrate how the few reaped the benefits of the industrial age, leaving the vast majority of the common folk to the subservient conditions and destitution that also accompanied the industrial revolution in the Victorian period.  As King Mithridates sat at the table to eat, he ingested poisonous food into his body.  The symbol of the meal is reminiscent of a bad experience.  This negative connotation further deepens when it is revealed that the poison does not hurt the king, but rather the subjects at the table, "Them it was their poison hurt," (74).  Ultimately, this furthers the parallel between the rich and poor in illustrating the few who reaped tremendous wealth and power from an age that obliterated the social standing of many English commoners. 

Finally, the reference and allusion to both the Victorian period and present day issues at hand as they are revealed to be untrue complete the dissatisfaction with the ideals of the Victorian period and a desire for change. 

In describing his past as "the lovelymuck I've lain" (35) the speaker alludes to conditions within his life that loweredhis social standing and ability to remain happ.  For he states, "Heigho, the tale was all a lie, the world, it was the old world yet" (38-39).  This emphasizes his sarcastic tone in describing the futile worth of Victorian ideals of morality and propriety as they apply to increasing his social standing in the world. 

1.  Structuralism:  The scholarly study of language and the relationships and the significance derived from the effect of a varied words and items.  Also explores how the opposites within language construct meaning in literature. 

2.  Binary Opposites:  This - Stupid Stuff, death -  brisker, word - world's not, lovely - muck, world - old world yet, much good - much less good than ill, sun - moon, luck's a chance - trouble's sure, ill - good. 

3.  Thesis Statement:  In "Terence, This is Stupid Stuff", the contradictions of the binary opposites such as lovely, muck and this, stupid stuff allude to the speaker's claim that the ignorance is bliss in a world in which knowledge destroys one's innocence because it inevitably informs the individual of the existence of good and evil as simultaneous entities. 

4.  "horned head... Moping, melancholy, mad... livelier, liquor...smiling, seasoned, sound" (8-67).

5.  Thesis Statement:  In "Terence, This is Stupid Stuff", the employment of alliteration and rhyming couplets allows for a juxtaposition of harsh and soft phonemes drawing support to the speaker's claim that the best method in handling the certainty of tragedy, one must expose themselves gradually to woes in order to adapt to inevitable evil world. 

6. "livelier, liquor than the muse" (20).  Alludes to the speaker's opinion that the indulgence in alcohol is easier and more simplistic than emerging oneself into the literary toil of muse and poetry.  As a result, the poet elevates himself to a higher level of being and intelligence by contrasting himself from his friend.  .

7.  In "Terence, This is Stupid Stuff", the presence of alliteration in the line, "livelier, liquor than the muse" creates a conversational tone and alludes to the speaker's opinion that the indulgence in alcohol is easier and more simplistic than emerging oneself into the literary toil of muse and poetry.  As a result, the poet elevates himself to a higher level of being and intelligence by contrasting himself from his friend. 

8.  The poem, "Terence, This is Stupid Stuff", is best described in rhyming couplets with iambic tetrameter, which allows the form of the poem to defy the content, creating a humorous, contradiction between the comic outlook of the speaker juxtaposed with the tragic reality of the world. 

9. Oxymoron: A figure of speech in which two opposite ideas are joined to create an effect.  In this case, the effect of lovely and muck presents a humorous parallel with a period of despondence for an individual who was going through a rough time.  More significantly it emphasizes the experience of the speaker and what their past was like. 

“And Down in lovely muck I’ve lain” (35).

 

Antimetabole:  (also called Epanados) A literary device involving repetition in reverse order.  The reverse order in this example of good in contrasting order creates an effect of resolution as conveyed by the speaker’s tone and attitude towards the world. 

“Therefore, since the world has still much good, but much less good than ill” (43-44).

 

Antithesis:  A literal device that juxtaposes two opposite ideas which are put together in a sentence to achieve a contrasting effect.  Antithesis emphasizes the idea of contrast by parallel structures of the contrasted phrases or clauses, i.e. the structures of phrases and clauses are similar in order to draw the attention of the listeners or readers.  The effect of this example in relation to the poem is that it emphasizes the speaker’s sentiment towards the world as one full of evil and strife, destined for worse things to occur to individuals.  He uses this to allude to the notion that preparation for the worst is necessary.

“Luck’s a chance, but trouble’s sure” (46).

 

Alliteration: Repetition of a sound in multiple words.  Has the effect of quickening the tone.  In this effect, a form of alliteration or Consonance is used, in which consonant sounds are repeated.  This can lead to a form of head rhyme.  The effect in this example helps to add auditory effect to the speaker’s ending allusion to King Mithridates.

“And easy, smiling, seasoned sound” (67). 

 

Prosthesis:  Adding an extra syllable or letters to the beginning of a word.  Creates a poetic effect, turns a simple word into something unique.  In this example, the finality of starting over. 

“And nothing now remained to do But begin the game anew” (39).

 

10.  In, "Terence, This is Stupid Stuff", A.E. Houseman employs multiple tropes and schemes to convey a sense of paradox and contradiction, as such, alluding to the intelligence of the speaker as being superior to that of his pub associates.  This ultimately illustrates the author's negative sentiment towards the world, and his desire to stratify his life with despair and wallow, so as to prepare for an even greater tragedy that will identify the evil of the world.

 

11.  "The cow, the old cow, she is dead" (8).  Semantics:  The cow, a rather old female cow is now dad.  Pragmatics:  You are free, you are no longer bound to this sadness and despair.  You may rejoice. 

 

12.  The friends of Terence seem to use deductive reasoning to support their conclusion of Terence and his poetry.  They provide a variety of statements to corroborate their contention of Terence's work, and then appeal to his emotions using vivid food imagery, especially alcohol as a means of drowning out all that is bad in the world.

Alone in Darkness (Gothic Poem)

Alone in Darkness
the night falls with a silent sigh, lost are we.
the understanding for which you lust
flares once, then dies,
smothered by the abyss.
all hope must surely perish.

your passion throbs no more.
how could you abandon me?
lost souls surround us, crying,
we have lost our way.

Fairy Tale Presentation (Blog Post #13)