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Transcript of Monomyth
Call to Adventure
Refusal of the Call
Crossing the Threshold
Belly of the Whale
Road of Trials
Meeting with the Goddess
Woman as Temptress
Atonement with the Father
Refusal of the Return
Rescue from Without
Crossing the Return Threshold
Master of Two Worlds
Freedom to Live
Their Eyes Were Watching God
The Color Purple
he say. Like it wasn't nothing. Mr. ____ wants another look at you" (Walker 20).
"'youse got yo' womanhood on yuh...Ah wants to see you married right away'" (Hurston 26).
"'Naw, Nanny, no ma'am! Is that whut he been hangin' round here for? He look like some ole skullhead in de grave yard'" (Hurston 28).
"By ten o'clock I'm done. They cry themselves to sleep. But I don't cry" (Walker 21).
"Nettie here with us. She run away from home" (Walker 25).
"'Nothing can't stop you from wishin'. You can't beat nobody own so low till you can rob 'em of they will'" (Hurston 31).
"Janie and Logan got married in Nanny's parlor of a Saturday evening with three cakes and big platters of fried rabbit and chicken" (Hurston 39).
"I say, Write. She say, Nothing but death can keep me from it. She never write" (Walker 26).
"I don't say nothing...What good it do? I don't fight, I stay where I'm told. But I'm alive" (Walker 29).
"She know now that marriage did not make love. Janie's first dream was dead, so she became a woman" (Hurston 44).
"Harpo ast his daddy why he beat me" (Walker 30).
"'Cut up dese seed tater fuh me. Ah got tuh go step off a piece'" (Hurston 46).
"Shug Avery...the Queen Honeybee is back in town" (Walker 33)
"From now until death she was going to have flower dust and springtime sprinkled over everything" (Hurston 54).
"She put on one of her bought dresses and went up the new cut road all dressed in wine-colored red. Her silken ruffles rustled and mustered about her" (Hurston 66).
"I got a million question to ast...Is she still the same old Shug?" (Walker 35).
"Bible say, Honor father and mother no matter what. Then after while every time I got mad of start to feel mad, I got sick...I sleeps like a baby now" (Walker 47).
"She stood there until something fell off the shelf inside her...it was her image of Jody tumbled down and shattered" (Hurston 112).
"'Tain't dat Ah worries over Joe's death, Pheoby. Ah jus' loves dis freedon'" (Hurston 143).
"Well, she said, let's make you some pants" (Walker 136).
"My daddy lynch. My mama crazy...My children not my sister and brother. Pa not pa" (Walker 263).
"'Ah told yo' before dat you got de keys tuh de kingdom. You can depend on dat'" (Hurston 181).
" What God do for me...he give me a lynched daddy, a crazy mama, a lowdown dog of a step pa" (Walker 175).
"'you aims to partake wid everything, hunh?' 'Yeah...don't keer what it is'" (Hurston 186).
"'you must let the flowers see yuh sometime, heah, Janie?'" (Hurston 268).
"I think it pisses God off if you walk by the color purple in a field somewhere and don't notice it" (Walker 178).
"Now she was her sacrificing self with Tea Cake's head in her lap. She had wanted him to live so much and he was dead" (Hurston 273)
"My heart broke. Shug love somebody else" (Walker 218)
"Now us sit sewing and smoking our pipes" (Walker 238).
"Tea Cake ain't wasted up no money of mine, and he ain't left me for no young gal, neither. He give me every consolation in de world" (Hurston 18)
"The kiss of his memory made pictures of love and light against the wall. Here was peace" (Hurston 286)
"I don't think us feel old at all. And us so happy. Matter of fact, I think this the youngest us ever felt" (Walker 251).
The Color Purple. Alice Walker. New York: Washington Square Press, 1982. Print.
Their Eyes Were Watching God.
Zora Neale Hurston. New York: J B Lippincott, 1978. Print.
The two women begin their journeys with marriage. Both have an expectation of what it may be like, but neither are fully prepared. At the time of their marriages, both Janie and Celie are young girls catapulted into adulthood and womanhood.
Both women have initial struggles with their husbands and marriages. This isn't to say they fully accept their marriages later; both have a complicated journey of discovery ahead.
Female companionship serves as the mentor for both women. For Janie, her grandmother's stories. For Celie, the presence of her sister. Both find comfort in the women around them.
Janie crosses her threshold when she commits herself to marriage--her dream of love dies. Celie crosses her threshold when she believes her sister dies. Both reach a point of no hope and accept their unhappy marriages at this time.
Janie and Celie both give up on love in a relationship and they both reach incredibly low points when they believe there will never be anything more to life than following their husbands.
Janie and Celie encounter abuse by their husbands; the men in their life to this point have all been cruel. Domestic violence is, for women, a trial that some never escape.
When Janie meets Joe and Celie anticipates meeting Shug both women experience a hope that they thought was long gone: hope that there is something more beyond their marriages and husbands, hope for love or excitement.
Janie experiences a phenomenon that would be foreign to men at this stage--she herself is the temptress. Janie as the Mayor's wife is an entirely new woman with the new clothes and power that comes with the title. She is tempted by the life of indulgence and the power over others she has never known before to change her worldview.
Celie is enchanted by a woman she has never met; Shug is a symbol of power and freedom. Janie and Celie are tempted by the unknown aspects of femininity that are realized either within themselves or others at this stage.
Both women find peace when they talk through and contemplate their worldview. Janie's image of her second husband shatters, and this time she is stronger and deals with the disillusionment. Celie explains her attitude towards her parents and in explaining it, finds peace with herself and her emotions.
Overall, men experience significantly more freedom than women do--Janie and Celie's husbands were never trapped by those they loved. As African-Americans, both the women and their husbands experienced subjugation--the women, however, also felt it at home. With Joe's death, Janie is a free woman. With Shug's encouragement, Celie is able to start a business making pants. Both women are liberated when they move away from the men in their lives and find out how to live as adults on their own.
Both women are happiest when they realize they have left their past behind them--for Janie, the husbands who never cared about her. For Celie, the abusive and miserable family she knew as a child. Neither was necessarily seeking this release from the past, but it becomes the greatest gift they've known.
Both women refuse to conform to the expectations society has for them. Janie was expected to stay home all her life, now she chooses to run wild and follow Tea Cake wherever he goes, ignoring anyone else. Celie has always followed God, now she chooses to give up on Him.
Janie and Tea Cake were certainly happy together, but she was isolated in her focus on him. Both women take a needed reminder to step back and take in the bigger picture of life; they are reminded to appreciate the beauty in the world when they see it and to not refuse society so much that they segregate themselves from the world.
Janie and Celie believed they would be set for life with Tea Cake and Shug respectively. That happiness could not last forever though, and they are forced to continue on and accept life without their loved one.
Janie and Celie find friendship; before this they had romantic relationships or loveless marriages but stable friendship is a new experience and gives them the perspective of both having others around and remaining independent without cot.
Janie and Celie have both matured. Neither have a passionate love to keep them going; instead, they have transitioned into loving their family and friends, their lives, and most importantly, themselves. The self confidence and self love they have discovered cannot be changed or taken away--they have found peace in their homecoming.