Analysis of Janie From Novel Their Eyes Were Watching God

While slavery in the United States is over, Janie realizes that her position as a black woman leaves her in confines that her male counterparts are no longer bound to. Her femininity was what filled her childhood and her first hopes of a future, but in this new America, Janie’s elevated social class, her age, and her inner confidence cannot help her navigate the nation’s dark thirst for power over women. Nanny, who grew up as a true slave, raises Janie in the belief that she can find a husband and live a life of easy conversations on the porch and acres of wealth. Janie’s coming of age is a dreamy experience of blossoming pear trees and a first kiss in the garden.

All of these childhood illusions, combined with a new rush of black empowerment are practically unattainable for black women, as Janie Crawford comes to discover in Zora Neale Hurston’s Their Eyes Were Watching God. For a young black girl growing up in the wake of slavery, Janie Crawford’s childhood is dreamier than most, with the white landowner dressing her “up in all de clothes her gran’chillun didn’t need…[and a] hair ribbon” (Hurston 9). She is at first blissfully unaware of the strong racial divide within her own country, not recognizing “dat dark chile as me” (9). Janie’s ascension into womanhood appears to foreshadow a similar trend, “with kissing bees singing of the beginning” of her future (11).

Her first kiss is the end of era, however. Perhaps the most striking line that encompasses black femininity in the novel is Nanny’s understanding that the black woman “is de mule uh de world” (14). Throughout the novel, this statement becomes evident, as each black woman is continuously forced to retreat into the background and forced by her husband to work.

Logan complains greatly about Janie’s lack of initiative to join him the fields, when her life is already occupied with the societal pressure to clean his house, make his food, and care for him. Because Janie is unable and unexcited to take on yet another responsibility from her husband, Logan believes that she “done been spoilt rotten” (26). The idea that she could be a black woman free of her responsibilities is apparently impossible; according to Logan, she thinks that’s she’s “white folks by de way [she] acts” (30). A life with a “cityfied, stylish dressed man” like Jody Starks who was “a seal-brown color but…acted like” he was white is what Janie believes to be an opportunity to break free of old identity (27).

Her years with him in Eatonville prove to be even more oppressive as Joe is firm in his belief that “she’s uh woman and her place is in de home” – or behind the desk of his shop (43). These stereotypes are dangerous sources of oppression for a woman who was raised to believe that she could have it all. Janie matches her hopes for true love with dreams of elevating her social status.

The idealized past time of white women across the South is lazy gossip and people watching on the porch, symbols of wealth and relaxation. Jody’s own source of power as an educated and resourceful black man is what leads Janie to believe that she is “not just another woman as she had supposed…[and she] slept with authority” (46). Her apparent social power is derived from Logan’s “often-mentioned sixty acres,” Jody’s position as mayor and developer of Eatonville, and the luxury of the home that they share (21).

However the men and women that surround Janie nevertheless succumb to the societal standard that black women cannot have such power. Nanny’s analysis of the relationship between black men and women seems to be correct – “he hand [the load] to his womenfolks” (14). However, her prayers “fuh it tuh be different wid” Janie die with Nanny, as Janie spends the rest of her life attempting to establish herself as an individual of high class while staying loyal to her husband (14). She ends up caught in a limbo between the world’s inability to give her the higher respect she desires and to connect her with the lower class.

As mayor’s wife, she is “the bell-cow, [and] the other women were the gang” (41). Not only are the women of Eatonville referred to as little more than a collective group – and Janie is compared to a complacent, working animal – but also a bizarre power structure is created. Unnecessary competition is fueled by Jody’s insistence that “nobody else’s wife…rank with her” (41). Later in the novel, Tea Cake won’t let Janie accompany him on his gambling trip because “dem wuzn’t no high muckty mucks…dem was railroad hands and dey womenfolks” (124). There is no true social power that Janie is allowed to hold other than the reputation of the man she is married to.

After Jody Starks’ death, Janie still cannot escape his immense shadow despite her valuable life experience. She continues to be known as “Mrs. Mayor,” and the town of Eatonville cares about nothing except her dedication to grief. Teenage dreams of falling in love were not satisfied by neither Logan nor Jody, and her sudden fascination with Tea Cake distracts her from a painful reality; woman, much less black women, were rarely given the respect they deserved. Being almost fifteen years senior to her new lover does not make her any less of a slave to his desires.

Tea Cake’s carefree attitude and charisma is an almost taunting reminder to the reader that he has the freedom to express his opinion. His decision to let Janie be an independent woman around him first appears as a romantic gesture, but truly it should not be Tea Cake’s right to allow Janie’s personal expression.

As their relationship develops, the topic of her age is continuously brought into the conversation, and there are moments in which Janie appears as almost a mother-like figure towards her husband, which serves to highlight his youth and her life experience. When he wakes up in pain in the middle of the night, she soothes him with the idea that she will “bear de pain ‘long widja,” referring to him as “honey,” “baby,” and “sugar” (174). Despite their obvious age difference, “Tea Cake would not let her go with him” as he hangs out with his younger friends and gambles (154).

He insists that “Janie is wherever Ah wants tuh be” (148). His ability “to whip her reassured him in possession” (147). As their marriage progresses, Tea Cake becomes even more of a symbol of the nation’s toxicity towards Janie’s identity. Not even her wisdom in age can free her from the shackles of marriage – because in Tea Cake’s eyes, their marriage evolves into little more than a symbol of his power to objectify her. Janie’s inner dialogue adds to the depth of the novel, and her oppressed expressions make clear that her thoughts are the only thing that is not a slave to society and to the men in her life.

Qualities that she takes pride in such as her beauty seem to become invisible. She attracts Jody by making “her heavy hair fall down,” yet days after their marriage and arrival into Eatonville, the men notice that “dat ‘oman ain’t so awfully pretty no how when yuh take de second look, [and] ‘tain’t nothin’ to her ‘ceptin dat long hair” (27, 38).

Logan stops “talking in rhymes to her” and reduces her physical power by searching for a mule “all gentled up so even uh woman kin handle ‘im” (26-27). The hope that her Nanny raised Janie in is cause enough for her to not completely repress her opinions and emotions. Throughout the novel, she makes casual references to her self-confidence, a power that everyone seems to ignore or forget. She mentions to Logan, “S’posin’ Ah wuz to run off and leave yuh sometime” (30). J

anie feels a rush of anger when Jody denies her the right to make a speech for town, hating how he “spoke out without giving her a chance to say anything” (43). The momentous ending to Their Eyes Were Watching God sees Janie in the ultimate moment of empowerment. “Tea Cake, put down dat gun,” she yells as she thrusts a rifle in the direction of her deranged husband (184). Her “first dream[s] are dead, so she became a woman,” but the spark of fire within Janie never dies as she experiences the constant frustration of a society that seems programmed to silence her (25).

Janie’s entire life is symbolic of the gendered and racial oppression in early 20th century America. Her internal dialogue proves that she was not blind to her oppression, but rather unequipped to face a nation that wished her back into the chains of her ancestors. Zora Neale Hurston uses her main character in Their Eyes Were Watching God as a catalyst for discussion about the assumed power that male figures take. Janie Crawford is unafraid of her desire for love, passion, comfort, and youthful freedom.

She is often forced to repress these dreams and remains unable to express her social status of the relative wealth and power of Jody Starks, her superior age to Tea Cake, and her internal desire for rebellion. Nanny experienced the physical and mental strains of real slavery and raised Janie in the hopes that her life would be different. Of course, Janie is no true slave, but she cannot be truly free in a world that denies her every right because she is black and because she is a woman.

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Analysis Contemporary Novel Their Eyes Were Watching God and Development of Main Character

In the novel, Their Eyes Were Watching God by Zora Neale Hurston, readers witness Janie Crawford develop her independence and self-actualization throughout three marriages and many trials. At a young age, Janie dreamed of love. However, after her grandmother thwarted her views, she learned to accept her grandmother’s opinions as facts, and become a woman. Hurston portrays the importance of language and the power of speech as Janie begins to realize the value and validity of both her voice and opinions.

The denial and later legitimacy of opinions teach one to trust his or herself. At the start of the novel, with a heart so full of love and a mind full of imagination young Janie spends most of her time gazing upon the first blossom blooming on her pear tree while she envisions the delights marriage will bring. However, when her grandmother confronts her regarding the kiss she shared with a neighbor boy, she becomes aware of the realities of marriage -according to her grandmother- in that marriage does “not make love” (Hurston 25).

Janie’s grandmother, Nanny Crawford, was born into slavery and had certain views on what she wanted her granddaughter to become. While enforcing her own opinion, Nanny denied Janie the right of having her own opinion leading to Janie’s realization of her lack of voice. Janie’s confidence in her power of opinion grows after having shot and killed her husband out of pure self-defense. She fills with relief as she hears the jury deem the death of Vergible Woods (Tea Cake) “accidental and justifiable” (Hurston 188).

Prior to meeting Tea Cake, Janie became accustomed to having her opinions thrown out the window. Nevertheless, she decided to speak out for her own self and her opinion and the choice she made to shoot Tea Cake was validated by the jury. Janie’s voice had been heard, even in a controversial situation, which propelled her further to understand the importance of holding a powerful voice. Janie’s increase of independence and self-actualization throughout the novel is conveyed by the symbol of her hair. As Janie returns to her previous home in her old town, people straightaway begin to judge her long straight hair hanging down her back “lak some young gal” (Hurston 2). The town makes it obvious that they feel it is unsuitable for a woman of her age to wear her hair down.

However, as she waltzes into town with her hair swinging and head held high, she conveys a strong sense of independence and makes it known that despite society’s absurd opinions, she recognizes her own voice and does not feel anymore that society has control of her speech and actions. Hurston reveals the need to develop an independent voice through Janie’s experience with marriage. Having been forced to wed Logan Killick, Janie begins to feel dispirited at the lack of love within their marriage as Logan constantly chastises her for not taking a “bit of interest” in what he wishes of her (Hurston 30). This shows that Logan believes his wife must hold an interest in whatever interests.

Furthermore, Logan’s actions and words prove that he feels Janie should depend on him, not hold a voice of her own, or do as he pleases. After fleeing from her first marriage, Janie’s second marriage proves to be just as oppressive. When asked by the townspeople to give a speech, Joe starks immediately proclaims that his wife “don’t know nothin’” about delivering a speech (Hurston 43).

The fact that Joe refused to give Janie even a chance to respond manifests to the reader that he assumed she held no power to speak without his permission. The rejection of one’s ability to speak for his or herself leads to a lack of confidence in oneself. On the contrary, Janie’s third and final husband brings her to independence and shows her the validity of her voice. When asked to play checkers, Janie expresses that she had never been taught, to which Tea Cake then proclaims that this will be the final day “for dat excuse” (Hurston 95).

This small encounter conveys that Tea cake felt it a normality for her to play, despite being a female and constantly rejected a voice. Hurston conveys that from that day forward there will be no more excuses as to why Janie cannot do something: her voice will be heard. Furthermore, everyone should have the opportunity to have their voice heard. Hurston shows Janie’s gradual permission to speak in order to encourage women to gain a voice. When Nanny Crawford regarded Janie’s views as inaccurate, she began to assume that if her grandmother had voiced it, “it must be so” (Hurston 21).

Since her voice had been so quickly silenced, she was forced to follow as her grandmother said, leading to an unhappy marriage. If Janie had continued to express her desires and further enforced her opinion, she would not have found herself trapped in confinement. Even so, the fear of not holding adequate power to speak out holds many people back from expressing their own voice. Janie begins developing her strength of speaking her mind regardless of the shock of others. When Janie becomes sick of Joe hurling insults at her she musters up the strength to speak her mind and tears down his “empty armor before men” (Hurston 79).

In order to stand up for oneself, he or she must have the ability to speak up. In spite of being told her whole life that her voice was unimportant, Janie found the capability to ensure that her voice rang loud and clear and would not go unheard again. As Janie returns back to town, Pheoby immediately recognizes that Janie “held the oldest human longing” which she reveals as “self-revelation” (Hurston 7). Janie has acquired a revelation of her own thoughts and feelings, and she no longer cares for the opinions brought by the people around her.

Even Phoeby shows shock that Janie now speaks with such confidence and shows an eagerness to feel as she does. Hurston reveals this encounter to the readers in order to show the importance of gaining a voice and influencing those around oneself to find themselves. After enduring many trials and searching to find love within marriage Janie develops the ability to recognize her importance. Hurston conveys the importance of language and the power of speech as Janie realizes the value and validity of both her voice and opinions.

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An Analysis of Janie’s Development as a Woman in “Their Eyes Were Watching God” by Zora Neale Hurtson

In the novel. Their Eyes Were Watching God. Zora Neale Hurston writes about a young girl thats turns into a woman. Janie. a strong and dramatic character, develops into a woman with the three marriages she has. In each marriage she learns valuable lessons. has progressively better relationships, and realizes how a person is to live their life. Janie’s marriages to Logan Killicks, Jody Starks, and Tea Cake are the influences in her development as a woman, Janie’s marriage to Logan Killicks was the first stage in her development as a woman. She hoped that her forced marriage with Logan would end her loneliness and desire for love. Right from the beginning, the loneliness in the marriage shows up when Janie sees that his house is a “lonesome place like a stump in the middle of the woods where nobody had ever been”.

This description of Logan’s house is symbolic of the relationship they have. Janie eventually admits to Nanny that she still does not love Logan and couldn’t find anything to love about him, “She knew how that marriage did not make love, Janie’s first dream was dead, so she became awoman” (p.24). Janie‘s prayer is her final plea for a change in her life. She knew that by leaVing him it would change for the better. Janie’s prayer is answered with her next husband, Jody Starks. When they first met, Janie was convmced that Jody believed she was a very special person because of the compliments he gave her. For two weeks, before they married, they talked and Janie believed that Jody “spoke for change and chance” (p.28).

The problem Janie had with Jody was that he did not treat her as equal. He would not let her speak in front of people, teach her to play checkers. or participate in other events, Janie notices the problem early in the relationship and confronts Jody about it when she says “itjus’ looks lak it keeps us in some way we ain’t natural wtd one ‘nother. You‘se always off talkin‘ and fixin’ things, and Ah feels IakAh’m Jus‘ markin time. Hope it soon gits over”. Janie realizes that she can‘t be open with Jody and that he is not the same man she ran off with to marry. Jody only gave material goods to Janie. Janie funher changes after she meets Tea Cake. Tea Cake is the catalyst for the final stage of development of Janie as a woman. From Tea Cake. Janie learns to love and what it feels like to be loved. Tea Cake not only made Janie feel special With his words, but proved it as well by taking her fishing, hunting, to the moVIes, dancing, gardening with her, and other “Signs of possession“.

For awhile, Janie and Tea Cake worked the fields together. For the first time in her life. Janie is enjoying life. She says “…we ain‘t got nothin’ tuh do but do ourwork and come home and love” (p.127). From her marriage with Tea Cake, Janie experienced love. This is something she believes very few people have experienced. Janie’s marriage with Tea Cake finishes her development as a woman. Janie clearly progressed into becoming a woman through the three marriages she had. Logan Killicks was her starting place. From him. she learned that she was missing love. Joe Starks gave her what she thought was love. It was only a show to win her over. His death gave Janie a new chance. Tea Cake was given the privilege of being the next to marry Janie. He taught her what love was. Although Janie became a woman when her first dream was broken, she completed her growth as a person when she learned about love.

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Their Eyes Were Watching God: Psychoanalytical Perspective

A Prospectus: Reading Hurtson’s Their Eyes Were Watching God from a Psychoanalytical Perspective Psychoanalytic theory has shown that infants start identifying themselves and recognize that they are individuals, separate from their mothers, at six months of age. At that age, the individuals’ own identity starts to form as they relate their reflection in the mirror to their own self. This is when texts such as Their Eyes Were Watching God become relevant.

The protagonist, Janie Crawford, struggles to construct her own identity and experiences a severe sense of loss in her childhood. Meanwhile, Janie recognizes her African American identity through her projection in the picture in respect to Lacan’s Mirror Stage. The projection of Janie’s identity in the picture as a child not only makes her realize her black origin, but also identify her sexuality as she can only, initially, identify her dress and her hair.

This delayed self-recognition disrupts Janie emotionally and explains her inability to maintain a successful marriage throughout the novel. Freud’s psychoanalysis suggests that any disruption in one of the stages of development will negatively result in failure in one or more of the individual’s aspect of life (Bertens 158), which is evident in the novel. Even though Janie goes through the stages of development depicted in both Lacan and Freud’s theories, Janie starts going through these stages later in her childhood, at six years old.

According to Lacan’s Mirror Stage (2010), in the first six months, the infant does not distinguish his own self from that of his parents or even the world around him. However, they can only identify that the images in the mirror, or any other projection, like the picture in Janie’s case, when they are about eighteen months old. This delay in Janie’s development is related to the social and familial issues that Janie has experienced in her childhood. The first encounter of the infant with the self in the mirror forms an “Ideal-I” in which the infant will derive all subsequent future identifications.

The infant encounters both attraction to the image and aggression towards it over the difficulty of controlling it, which carries over into future identifications (Lacan 2010). Janie’s misrecognition, or lack of recognition, of herself in the picture is due to her need to construct a sense of reality and make sense of the unusual circumstances in her upbringing. Janie recognizes that her specular self contradicts her real self, or in this sense, the self that she has created through her social environment and identification with the white children.

Even though Janie had a delayed recognition of herself, she experienced her first sexual fantasy under the pear tree at the age of sixteen, which Freud identifies as the genital stage of psychosexual development that happens in adolescence when those urges and desires are awakened (Garcia 1995). Janie does not encounter delays in her genital stage, however, she goes through Cathexis in her desperate attempt to let down of her hair, which is a crucial symbol of her sexuality throughout the novel.

Most researchers have examined Janie’s sexual orientation and feminine identity through the symbols of the pear tree, the mule, and her hair (Dilbeck 2008). They have also identified her realization of her womanhood and her constant search for love through her three marriages (Bealer 2009, Clarke 2001, and Matos Ayala 2001). Researchers have also pointed out that Janie has successfully established her identity through using her voice, which allowed her readers to visualize the narrative (Burrows 2001, Haurykiewicz 1997, and Lancaster 2009).

However, critics have overlooked the development of Janie’s identity throughout the novel in the context of Lacan’s Mirror Stage and Freud’s psychosexual stages of development. Understanding Janie’s delayed identity development, suppressed sexual desires, and her unusual social environment help to better identify her inability to maintain a successful marriage and explain her underlying sexual behavior. The purpose of this paper is two-fold.

First, this research suggests that Janie’s incapability of having successful emotional bonds with the males in her life can be understood through the analysis of her delayed identity recognition in respect to Lacan’s Mirror Stage. Second, Janie’s suppressed sexual desires that stems from the patriarchal society can be the reason for her to release these desire into an object that symbolizes her sexuality, in this case her hair.

Preliminary Bibliography

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Their Eyes Were Watching God

Hannah Ricci 11. 28. 11 p. 1 Their Eyes Were Watching God Essay 2. In her marriage to Jody, Janie is dominated by his power. At several points, however, it is obvious that he feels threatened by her. Why does Jody need to be in control of everyone around him? How does Janie threaten Jody […]

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