4th Analysis

Beloved 4^th Analysis

After attempting to visit Sethe at 124 for a second time, Stamp Paid begins to understand Baby Suggs realizes that blacks will never be able to escape the deep hatred and violence displayed by whites. He… that even in “Eighteen seventy-four… whitefolks were still on the loose” (212). Morrison uses a phrase “on the loose” that has connotations to wild animals. By depicting whites in an animalistic sense, Morrison inverts the popular views of blacks and whites of the time. Whites were seen as… while blacks were generally seen as wild animals. Morrison employs inversion again when she describes the punishment blacks received at the hands of whites. Morrison says that “grown men [were] whipped like children; children whipped like adults” (212). Morrison employs chiasmus, to reverse the roles of children and adults. This inversion shows not only the dominating, humiliating side of whites: grown men were treated as if they were children, but the sheer brutality the demonstrated: children were beaten as severely as grown men. Throughout the novel, Stamp Paid, Baby Suggs and other characters struggle, unsuccessfully, to release themselves from the grips of slavery, even after it has been abolished.

Fourth Analysis: Inversions

Anne Kim

Period 3

After venturing towards 124, Stamp Paid realizes that no matter the time nor place, there’s no way to save oneself from the discrimination and violence of whites. In this sense, Stamp Paid feels defeated by the “whitefolk” who “were still on the loose” despite the abolishment of slavery years before (212). Morrison uses a series of chiasmic phrases and lucid imagery to illustrate an endless cycle of torment and suffering from slavery to the present time of “eighteen seventy-four” (212). She writes how “grown men [were] whipped like children; children whipped like adults”(212). By employing chiasmic structure, Morrison inverts the roles of “men” and “children.” This reversal shows how adult slaves were punished in the same way parents punish their children and illustrates the white’s assumed dominance and patriarchal role over blacks. The line "children whipped like grown men" displays how children received no mercy, as their punishment was equal to that of adults. By showing no differentiation between ages, Morrison exhibits how whites generalized slaves simply as widespread tools to complete work. Stamp Paid continues to recount, "black women raped by the crew; property taken, necks broken”(212). By using fragmented language, Morrison succinctly categorizes each facet of life in which blacks have suffered: rape, murder, and loss of economic autonomy. "Property taken" has a double meaning. It reflects how whites strip blacks of their property and way of life, but also alludes to slavery, as blacks are taken as property. With seeing no escape to the suffering, Stamp Paid and other characters in the novel are reluctant to find secure satisfaction within their lives. 

Beloved IV

Brandon Mikuriya

AP Lang, Period 5

April 10, 2013

Beloved: Rhetorical Analysis IV

In Beloved, Toni Morrison highlights the unique relationship shared by Denver, Beloved, and their mother, Sethe.  After experiencing the loss of Paul D, Sethe enjoys ice skating with her “daughters” and determines that “the hand-holding shadows she had seen on the road were not Paul D, Denver and herself, but ‘us three.’  The three holding on to each other skating the night before; the three sipping flavored milk” (214).  By repeating “the three” multiple times, Morrison employs anadiplosis and anaphora in order to emphasize the power of three—together, they would persevere.  Paul D’s sudden departure shattered Sethe’s ability to trust all but her three-woman family: Denver, Beloved, and herself.  In addition, “the hand-holding shadows” seem to represent what could have been—an unfulfilled scenario.  If the woodshed incident had not occurred, Sethe could have experienced a joyful family life with her five children.  However, in this scene, Sethe accepts her current circumstances and painful memories by resolving to closely hold her remaining family, her two daughters.  Finally, “the three sipping flavored milk” promotes recollection of a previous scene in which Sethe fed Denver milk tainted with Beloved’s blood.  Although Morrison commonly utilizes the milk motif, this usage sheds light on Denver and Beloved’s relationship.  Denver consumed Beloved’s blood, and in doing so preserved her spirit.  In light of previous chapters, Denver seems to possess an unusual obsession for her sister, which can be explained by “the flavored milk,” or bloody milk—this gift may have saved her life. 

Tree Motif

Different Meanings, Same Motif

            Morrison uses a tree motif to contrast the pasts two of her main characters, Paul D and Sethe. Although the motif surfaces to define both of their personalities, trees have different connotations for the two former slaves. When Paul D has escaped the prison and encounters the group of Cherokee Indians, he is told to follow “the tree flowers” north. The Indian continues: “Only the tree flowers. Where they go, you go. You will be where you want to be when they are gone,” (133) The Indian’s advice gives Paul D hope, as the tree flowers will lead him to freedom. The rich language, such as the repetition of “you go”, helps inspire Paul D. The advice tells him to trust the trees, and allows him to associate the tree flowers with freedom, direction, and hope. However the “tree” on Sethe’s back symbolizes the opposite. While lying in bed together, Paul D describes Sethe’s scar as “nothing like any tree he knew because trees were inviting; things you could trust and be near,” (25). The description of Sethe’s tree is the exact opposite of the trees leading Paul D north. Her tree is ugly and uninviting. The use of the word “trust” is especially important, as it is a direct contrast from the trustworthy, blooming trees that led Paul D north. Furthermore, Sethe’s tree is not described as appealing, as it simply referred to as a “revolting clump of scars”, whereas the trees associated with Paul D are covered in blooming flowers. In addition, Paul D’s trees led him north, and are therefore a reminder of freedom. Sethe’s tree is a result of multiple whippings, a constant reminder of slavery and suffering. Morrison’s careful diction while describing two different tree motifs define the pasts of two main characters. 

Sethe's Rememory

Thomas Bebbington

p. 5, KP

AP Lang and Comp

April 11, 2013

Sethe’s Rememory

In Beloved, Toni Morrison describes the way in which Sethe deals with her past while remembering her life in slavery. In this passage, Toni Morrison employs cataloguing, repetition, and similes to illustrate the strategies Sethe utilizes to escape from her past and enter into a new life of freedom. While thinking about milk she used to feed her children on Sweet Home, “she was spinning. Round and round the room” (187). To distract herself from her painful past, Sethe utilizes the tactic of spinning, and Toni Morrison describes this with repetition to describe the rapidity of her actions, as if she is trying to rid herself of the memories. As an attempt to enter a life of freedom, she uses these unusual movements to cling to the present. Morrison describes her movement throughout the kitchen when she says Sethe moved “Past the jelly cupboard, past the window, the sideboard, the keeping-room door, the dry sink, the stove” (187). In this delineation of Sethe’s movements, Toni Morrison employs cataloguing and asyndeton to emphasize her erratic actions in an attempt to relinquish her memories. She uses these calming strategies to mentally and physiologically ground herself, closing her mind to all the distant events that continue to plague her life eighteen years later. When Paul D recognizes her comforting movements, he describes her as “a slow but steady wheel” (187). This simile that Morrison employs compares Sethe to a “wheel”, almost guiding her into a new life of freedom. The wheel is the decisions Sethe makes leading her into a life not dictated by chains. By utilizing distracting movements that resemble a “steady wheel”, Sethe is determined to escape her memories of chains and begin to live a life of liberation and freedom, and distracting herself by “spinning” is the only way she knows how. To block out the past events, and start life over is the only way Sethe can reach happiness.

Beloved Analysis 4

In Beloved, Toni Morrison repeatedly uses violent, chaotic imagery to describe Paul D’s reaction to sources of stress and threats. When Paul D first learns of what Sethe did when Schoolteacher returned, he had a “roaring in [his] head” (193). The word “roaring” in this passage emphasizes the shock that Paul D has experienced, while the phrase “in his head” emphasizes that this sensation is much akin to internal turmoil. Later on, Paul D realizes that “it scared him”, it being Sethe’s violent action to protect her loved ones (193). This admission of fear further categorizes Paul D’s reaction of “roaring” as a defense mechanism. If one traces Paul D’s panic attacks and what brings them on, they can all be connected towards horrific events brought about by slavery. The helplessness of Paul D during these events emphasizes the overpowering effect slavery could have on an individual, even after being freed.

Beloved Analysis 4

Throughout Beloved, Toni Morrison employs animalistic imagery to depict both current and former slaves as subhuman. This state of mind is a direct result of their conditioning at the savage hands of their masters. This philosophy is fully revealed after the “Misery” at 124 occurs, when schoolteacher is discussing how slaves should be trained. Schoolteacher proposed Sethe had “gone wild, due to the mishandling of the nephew who’d overbeat her” (176). Here Morrison’s diction suggests animalistic traits, implying Sethe is similar to a domesticated animal that has gone wild. In addition, the word choice of “overbeat” makes apparent schoolteacher’s view that beatings are necessary, yet it is important not to overdo them. Schoolteacher uses more animal imagery and metaphors to depict the importance of taming a slave stating “you’d be feeding them maybe…and the animal would revert-bite your hand clean off” (176). This metaphor shows schoolteacher’s view that you cannot ever lose control of a slave or they will turn on you. Morrison’s use of asyndeton serves to demonstrate the matter of fact and expert way in which schoolteacher talks about subduing slaves. Furthermore, schoolteacher shows his perceived racial superiority when he notes, “see what happened when you overbeat creatures God had given you the responsibility of” (176). This observation shows schoolteacher truly believes blacks are a class of animal, and that he is responsible for both their wellbeing and positive contribution to society.  Morrison implies that without his conditioning, schoolteacher believes blacks will run wild and wreak havoc on  whitepeople’s society.