Voice and Language in Their Eyes Were Watching God

Voice and terminology in Their look Were reflexion God Oprisor Maria 1st year American Studies Voice and Language in Their eye Were reflection God In this paper I would like to focus on point of view and most aspects of stylistics in Zora Hurstons work Their Eyes Were Watching God. In particular, I leave behind cut through the issue of narrative voice, the shifts between depression person and troika person, and I will also embarrass in my analysis some aspects think to types of lyric variety and style variation.I have chosen this schoolbook because gener exclusivelyy it is considered Zora Neale Hurstons most important piece of fiction, and because it is a proof of her powerfulness to master language and voice. To illustrate my analysis I have selected some fragments which can be found at the end of the paper. I will make references to them whe neer is necessary. The young presents, in a combination of first and third person narration the story of Jamie Crawford and her three successive husbands. At several(prenominal) points in the text, Janie Crawford is prohibited from speaking, while at separate points she chooses not to speak.Silence, then, is some metres used as a tool of oppression and at other periods as a tool of power. Even from the beginning of the fable it can be easily noticed the shifting narration the vantage point has moved from every(prenominal) men to men to women to a woman all these under the form of gossip of the front porch (see quote 1). While the soonest feminist interpretations install forward the idea that Janie achieves selfhood by claiming her voice, Barbara Johnson asserts that it is by accept the inevitability of self-division that Janie gains the power of speech.She shows how Janies discovery that she had an internal and an external right away and suddenly she knew how not to desegregate them(Johnson 50) has implications for Janies ability to speak. There atomic number 18 two paragraphs that highlight thi s aspect of indoors and outside in Their Eyes Were Watching God (see quote 2). It can be noticed the pick up of Jody as an inwardlyr and in the gage quote her propose simply this time as an outsider. Now she realizes that looking at it she saw that it neer was the image and blood figure of her dreams.This proves that the inside and outside atomic number 18 never the same. When reading material the novel the reader is introduced into a world where perspective and voice atomic number 18 in a permanent shift but it does not take in the impression of unreliable narrators. The view point is controlled through a lingual indicator of viewpoint, namely deixis. This is proved by adverbials of enter like on that point and verbs like come. (see quote 2). Moreover through the novel we can put forward the presence of social deixis_ Mr. and Mrs. _Turner or _Mrs. _Bogle Mrs.Bogle who was many times a grandmother, but had a blushing air of coquetry about her that cloaked her deep- set cheeks. (p. 230) When speaking about types of language variety we certainly can include dialect when analyzing Their Eyes Were Watching God. Zora Hurston manages, with great literary craftsmanship, to represent not only the speech and thought of her protagonist but also of the joint black community. She succeeds in doing this through free indirect speech. In the novels frame tale, Janie returns to Eatonville after a long absence.Townspeople rally on porches exchanging speech full of drama and metaphor. In this context it is to be mentioned that phonetic changes as well as morphological changes exist at the level of the language. (see quote 3) Through all novel thither are wonderful examples of dialogues that show literary craftsmanship of the twentieth-century Southern black dialect speech. In terms of style variation, this is obvious at almost every page. It is easily detectable the Systematic variation from one identifiable harming of language to another within the same t ext(Short1996)/ (see quote 3). solely these demonstrate, without error, the way in which Zora Neale Hurston get the hang language and voice in Their Eyes Were Watching God. Hurstons great accomplishment is the creation of a literary language equivalent to the oral performances she admired as a child and study as an ethnographer. Vernacular voices speak in and through the novel and the novels words walk without masters. Their Eyes is a singular achievement. Quote 1 Ships at a distance have every mans wish on board. For some they come in with the tide.For others they sail forever on the horizon, never out of sight, never landing until the Watcher turns his eyes away in resignation, his drams mocked to death by Time. That is the life of men. Now, women forget all those things they dont want to remember, and remember everything they dont want to forgetSo the beginning of this was a woman, and she had come back from burying a on the spur of the moment(p. 175) Quote 2 So gradually, s he pressed her teeth together and larn how to hush. The tactual sensation 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 it never went back inside the bedroom again. So she put something in there to represent the spirit like a Virgin Mary image in a church. The bed was no longer a daisy-field for her and Joe to play in. It was a place where she went and laid down when she was sleepy and tired. (p. 232) Janie stood where he left for unmeasured time and thought. She stood there until something fell attain the shelf inside her. Then she went inside there to see what it was.It was her image of Jody tumbled down and shattered. But looking at it she saw that it never was the flesh and blood figure of her dreams. Just something she had grabbed up to drape her dreams over. In a way she turned her back upon the image where it lay and looked further. She had no more blossomy openings dusting pollen over he r man, neither any light young fruit where the petals used to be. She found that she had a host of thoughts she had never expressed to him, and numerous emotions she had never let Jody know about.Things packed up and put away in parts of her heart where he could never find them. She was saving up feelings for some man she had never seen. She had an inside and an outside now and suddenly she knew how not to mix them. In the first paragraph the marriage moves outward from the bedroom to the parlor, replacing itself with the image of virginity. The second paragraph represents her image of Jody, but an image of an outsider. Know she realizes that looking at it she saw that it never was the flesh and blood figure of her dreams.Both paragraphs are an externalization of Janies feelings onto the outer surroundings. In figurative language, Barbara Johnson observes, inside and outside are never the same and she asserts that Far from being an expression of Janie s new wholeness or identity as a character, Janies increasing ability to speak grows out of her ability not to mix inside with outside. (p. 233) Quote 3 Seeing the woman as she was made them remember the envy they had stored up from other times. So they chewed up the back parts of their minds and swallowed with relish.They made burning statements with questions, and killing tools out of laughs. It was business deal cruelty. A mood come alive Words walking without masters walking altogether like harmony in a song. What she doin overture back here in dem overhalls? Cant she find no dress to put on? Wheres dat blue satin dress she left here in? Where all dat money her husband took and died and left her? What dat ole twoscore year ole oman doin wid her hair swingin down her back lak some young gallon? Where she left dat young lad of a boy she went off here wid? Thought she was going to marry? Where he left her? What he done wid all her money? Betcha he off wid some gal so young she aint even got no hair s why she dont stay in her class? (p. 175) References Barbara, Johnson, Metaphor, Metonymy, and Voice in Their Eyes Were Watching God, in Wall, 2000, ZORA NEALE HURSTONS Their Eyes Were Watching God, New York Oxford University Press. Short, M. , 1996, Exploring the Language of Poems, Plays and Prose, London, New York Longman. Zora, N. , Hurston, 2002, Their Eyes Were Watching God, Library of America.