Third Beloved Analysis: Dance and Cry
with your Heart
In
Beloved, as Sethe ventures into the
clearing with both Beloved and Denver, Sethe reminisces about Baby Suggs’
preaching to the local black community and the aid that Baby Suggs brought to
people who endured slavery. In this particular scene, Toni Morrison couples
visual imagery with reoccurring images in order to recreate one of Sethe’s
positive memories and further develop Baby Suggs’ character as a caregiver. Sethe
recalls that the scene comprised of “laughing children, dancing men, crying
women” (103). Morrison utilizes parallel structure between the participles
“laughing,” “dancing,”– a motif– and “crying,” and employs asyndeton in order
to demonstrate the multitude of emotions evoked by Suggs’ preaching. Using
powerful verbs, Morrison is able to simply illustrate a vivid picture, or
better yet, a memory in which Sethe has not rejected. Furthermore, Sethe
continues to remember how “Baby Suggs, holy, offered up to them her great big
heart” (103). Morrison incorporates the repetition of Baby Suggs’ “great big
heart,” a reoccurring description from earlier in the recollection of the
memory in order to explain both Baby Suggs’ compassion and selflessness. To
further the characterization of Baby Suggs, Morrison portrays Suggs as “holy,”
which plays off the reoccurrence of religion while possibly suggesting that
Sethe sees Baby Suggs as almost god-like or a sanctified being able to bring
joy and peace to “them,” or her black audience. Moreover, when Baby Suggs
instructs her disciples, Baby Suggs
commands, “Love your hands… love your mouth… love your heart” (103-104). Using
imperatives, Baby Suggs suggests that one must learn to self-love and
appreciate these god-given gifts. The fact that Morrison selected the body
parts: “hands,” “mouth,” and “heart” is imperative to the scene and idea of
slavery as a whole, for during slavery “hands” were fettered, “mouth[s]” were unable
to speak, and the “heart” was not able, or told, not to love. Ultimately, Sethe
routinely stores the unspeakable memories within herself, yet Sethe is able to
recollect this helpful memory wherein Baby Suggs taught Sethe to love and to
rebuild her broken self.
A fantastic analysis. If Morrison incorporates biblical allusions to the Sermon on the Mount and thus draws a parallel to Baby Suggs as a Christ figure, how does she alter the traditional interpretation of Christ's sermon to the multitude? Also, why does Morrison shift who is laughing and dancing and crying? What does this scene suggest about the importance of community and the importance of reclaiming one's body as one's self? Is deliverance only promised in terms of the future and heaven? Or should one claim it now -- here in this world? Is Morrison creating another inversion? And if so, why? (Enzo, I love this analysis. I hope that all of the questions prove provocative rather than overwhelming. Will you use this analysis for part of your essay?)
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