Fauvism

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Discuss the themes and techniques of fauvism. Support your arguments with reference to specific examples.

Between 104-7, Henri Matisse, Andre Derain and Maurice Vlaminck evolved a style of painting that earned them the name Les Fauves. The Fauve movement was given it's name when the art critic Louis Vauxcelles was reviewing the Gils Blas at the Salon d'Automne exhibition in 105. He saw a classical sculpture in the centre of an exhibition room filled with fauve paintings by artists such as Derain, Vlaminck and Matisse. The bright arbitrary colours and distorted lines of the Fauvists paintings looked at the time like art by savages. He referred to these paintings as 'wild beast' in comparison to the classical sculpture. As a result of the French meaning for wild beast being 'fauves' the style was called fauvism. Although there was no common program such as the Impressionist Socit anonyme des peintres, sculpteur et graveur, the Fauves were all loosely joined by a shared rebellion against academicism. For the Fauves the simple act of painting and the joy of painting is at the heart of the paintings.

The Pointillists had a large influence on the Fauves. In the freeing of line and colour from the bonds of realistic description the Fauves looked back to the juxtapositions used by the Pointillists. They incorporated these juxtapositions into the emotionalism that they adopted from the styles of painters such as Vincent van Gogh . Comparing van Gogh's Self-portrait with shaven head (1888) to Matisse's Portrait of Andr Derain (105) one can easily observe the similarities. Both have broken brush strokes, the paint having been applied thickly and in directional patterns. This pattern plays a key part in the creation of a structure in the figures. Van Gogh has highlighted his face by lightening the green background palette close to the face. By contrast Matisse has used two colours, green and blue, in the background. However this has been coarsely applied with vigorous brushstrokes and no attempt to even try to finish it. Amongst other artists that influenced the Fauves Gauguin stands out. He influenced them with his love of painting primitive nature and they copied this by using his decorative values in many of their paintings. Such decorative values can be seen in the key Fauve painting The Joy of Life Matisse (108). It has been influenced by the way in which he drastically simplified forms, so much so that they become a pure linear pattern unifying the picture surface into a single spatial plane, not without some lingering reminiscences of Art Nouveau.

Colour and the use of colour for expression is at the heart of fauvism. By freeing colour from its traditional descriptive role in representation, the Fauves led the way to its use as an expressive end in itself, showing both an equivalent of reality and their emotional response to reality. Bright dissonant colours are used to express the artist's emotional response to reality, often using non-representative autonomous colours. The colours are bright and dissonant increasing the harsh and incoherent nature of the paintings. In the same way that colour is exaggerated for representation, nature is often distorted through the imagination of the artists. Indeed there is an emancipation of style and line, it is a liberation away from classicism, almost portraying the message that Academic Art is no longer needed as society has moved forward and can now express oneself. The artists try to portray this celebration of pleasure in the vivacity of the paintings.

Derrain's 'Boats in the Port of Collioure' (105) is a wonderful and typical example of fauvist painting. It has a primitive Mediterranean fishing scene as its subject. The sky is green and yellow, the hills pink and the foreground mostly pure red, yellow and blue. Derrain has applied paint in various sized blocks, often spaced apart to represent light and allow the colours to interact, and, by doing so gain strength from the contrast of each other. The sunlight influences the shades of colour and the gaps between the 'dabs' of paint. One only need look at the sea in the painting to see how the areas affected by the sunlight are green where as the rest of the sea is blue. The areas where the sun reflects on the water have large spaces between the 'dabs' of paint revealing the white base layer of the canvas. Although the colours are non-representational, their colour represents the objects intensity in relation to other objects. A result is that the grass/beach in the foreground is red and the background hills pink. The colours do not represent nature, instead provide a painterly equivalent to reality.

Matisse was one of the other great fauves. Similarly to Derrain, he painted at Collioure. His painting 'Interior at Collioure' (105) depends on the conjunction of red, pink and green, as well as blue and orange. Matisse's tendency to juxtapose of complimentary colours is supposed to enhance the colours and make the eye think that the colours are vibrating and thus affect the eye more. Despite this, space through the painting can be observed, (though not with traditional use of perspective) and it is easy to tell the interior and exterior light apart.

The main theme of fauvism seems to be the juxtaposition of colours so that they represent the view of the artist and create a vibrancy in the colours.It is the artists assault on classical reality.

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King lear

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DYNAMICS, TONE COLOUR AND EXPRESSIVE TECHNIQUES OF THE ENSEMBLE HORN IN THE 0TH CENTURY

Music for the French horn is thought to have originated from the fields, plains and forests of Europe. Hunters and poachers used the bright and superb upper ranges of the Horn with loud dynamics to sound above the busy array of hounds and other noisy features of "the hunt".

The earliest evidence of Horn notation is the music of Hardouin, published in 1856 , using small black and white squares to represent approximate pitch, in a hunting style.

George Turberville (mid 16th century) also pioneered in writing for Horn, by rhythmically notating the hunting Horn sounds.&

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The Horn as a hunting utility became increasingly popular during the times of King Louis XIV, of France. It was mainly used in courtyard music and ceremonial activities, however the composer Francesco Cavalli used the Horn in his first opera "Le Nozze di Teti e di Peleo" . The "Call to Hunt" fanfare displays the use of the major third, exclusively featured in the Horn section. Although Cavalli may have just used the Horn as an appropriate instrument for a hunting fanfare, he was the first to musically notate the brilliance and clearness (especially at fff) of the Horn's middle range to generate a "call".

Ironically, it wasn't until a Bohemian heard the sounds of this "Hunting Horn" in the French courtyards and enclosures of King Louis XIV, that the sounds of the Horn were notated for ensemble and solo works. Franz Anton bought many varieties of Horn back to his Bohemian homeland and spread the convention of Horn playing across his country. More importantly, he wrote much sonata-like Horn ensemble and solo music. Although Cavalli may have been the first to bring Horn indoors (in his first Opera), Anton was the first to keep it there.

The 17th and 18th centuries saw chamber music; music for ensembles to be heard by aristocrats. Johann Sebastian Bach wrote operas, chamber works and sonatas for a small variety of basic music instruments. Over time, the Horn was subtly added to Baroque ensembles. Innovators such as Ludwig von Beethoven and Wolfgang Amadeus Mozart included the Horn exclusively in symphonic works and Wind Serenades (respectively). Mozart even wrote a set of concertos for the Horn.

As composers demanded for new types of sounds to be played and for new types of expressions to be conveyed, technological hindrances limited the Horns tonal abilities. The invention of the rotary valve at around 180 vastly broadened the horizons for the Horn, and it was almost permanently added to the orchestra.

The commencement of the 0th century saw the new Impressionistic artistic style. Claude Debussy's inspirations, manifested in works such as Voiles and La Cathdrale Engloutie , abandoned the conventional phenomenon of "tonality" , and displayed music as an evocation of colours.

Oliver Messian furthermore developed this concept, by creating his own series of chords and harmonies to each display a different colour.

Russian composer Stravinsky pioneered in the art of neo-classicism, that is, adopting the old techniques of the past and using them in new and different ways.

Mid century western music like Anton Webern and Arnold Schenberg exhibited the more so new musical style of Serialism.

Other landmark works such as Edgard Varese in his work Ionization, and ???? in 4'" both pushed towards the ultimate modern compositional goal, "the liberation of sound".

As we have seen, composers have been using the horns tone colours for centuries. Its wide register and unique physical shape help to achieve a wide variety of different colours and sounds.

The mere shape of the Horn also allows a wide range of dynamics. Although dynamics can have a large effect on tone colour, it reserves a unique musical category of its own. In contrasting a romantic works scored for orchestral/ensemble Horn such as Strauss's Don Juan, to a classical work, for example Symphony 41 by Mozart, a great change in dynamic range is evident. Composers have turned to a greater range of dynamics over time, thus resulting in greater demands for solo, ensemble and orchestral works, for those including the horn.

Lastly, composers look to different expressive techniques to portray or express different ideas and feelings within works. With an instrument such as the horn, many different unconventional techniques can be used to do this.

This essay will analyse a series of 6 works that exploit the Horn's tone colour, dynamic range and use unconventional expressive techniques, in the late 0th century. Works such as Benjamin Brittens', Seranade (Opus 1) have used the Horns' upper register as an endorsement of colour within the vocalists' solo range .

Other works like Bakery Hill Rising, by Vincent Plush, portray scenes and/to evoke feelings through the solemn use of the Horn's "heroic" middle to upper registers.

Brett Dean writes music for 6 horns in his large scale orchestral work Beggars and Angels, and uses a mixture of conventional and unconventional techniques to illustrate his impressions of harmony and tension, respectively.

Oliver Messiean uses the full register and full dynamic range, mixed in with many interesting and bizarre horn techniques, to generate a call in his work Appel Interstellaire .

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Document Response to Federalist Number 10.Madison's reasoning in choosing a governing system for the Union of States

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In this document Madison is proposing the establishment of a republic in the form of The Union of The States. He states a variety of reasons why he has come to the conclusion that this will be the most functional type of government for their specific situation at that time. This essay will outline his reasons for his decision and an explanation of his concerns as he sees them.

In this brief he considers what he feels is the primary danger facing a government as it is developed and functions and how this danger can be best managed and controlled to avoid conflict and breakdown of the system. His main concern is the danger of the development of factions within a new governing system and their influence on the government. By faction he means "a number of citizens, whether amounting to a majority or a minority of the whole, who are united and actuated by some common impulse of passion, or of interest, adverse to the rights of other citizens, or to the permanent and aggregate interests of the community". The danger of a faction is that it might not be a representation of the entire community and therefore, not in its best interests. As Madison sees it, if you have a system that encourages and allows for liberty, you will always have factions, because when opinions are allowed, as in liberty, it follows that factions will develop. Because of the nature of people and their need to state their opinions, factions will always form as those of similar opinions group together to make themselves heard. Madison writes that "the most common and durable source of factions has been the various and unequal distribution of property". Because there are those who have, and those who don't have ownership of property, the interests of these groups will always be opposing ones. It is for that reason up to the government to regulate these groups of different interests, and maintain a balanced order.

As Madison states, it is necessary to reduce negative externalities by controlling its effects. "The inference to which we are brought is that the CAUSES of faction cannot be removed, and that relief is only to be sought in the means of controlling its EFFECTS".

If a faction is a minority then it can be voted out by majority group and be controlled in such a way. However if a majority prevails then a faction will rule over the public good and rights and needs to be controlled in a different way. Madison writes that you can solve this problem in two ways you either prevent the majority from forming or split up the faction, so it cannot go into effect. He feels that pure democracy won't be applicable because it will promote factions to form because that is the nature of a democracy. Everyone can voice their ideas and work to promote them. Because people are not equal in their possessions, opinions and passions, and because of that cannot be equal in their political rights, a true democracy is not possible as a governing system for their particular situation at that time.

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Madison for that reason decides that a Republic will provide the best method for government of The Union of The States. By examining the role of a republic government and comparing it to that of a democracy, he points out that it is more effective to manage through a group of representatives of the people, chosen by the people, as in a republic, than by allowing everybody a voice, as in a democracy. He then considers what will be more functional, one large republic, or a number of small ones. His answer is that the representatives chosen by a large group of people to be their voice will be more likely to be true to their choices than those of a small group. As a result Madison feels that a certain number of elected representatives can make up an effective government that will represent the public in a large republic, and can better manage to avoid the infighting and oppression of factions that would occur in a democracy or in a number of small republics. Factions might cause some disturbance in their own states, but in the total number of states of the larger republic, be outnumbered and over ruled, allowing for stability to the overall Union of the States.

It is for these reasons, his fear of factions causing disruptions to the government of the states in various forms of government, that Madison has concluded that the best system of government is a Republic of the Union of the States.

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"To Kill a Mockingbird" Character Theme

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The novel, To Kill a Mockingbird, by the American author Harper Lee, is about how society kills innocence with evil. The setting of the book takes place in the 150?s, where racism was a big deal to society. Throughout the novel, Lee uses a mockingbird as a analogy to the characters, which makes the title so convenient to the novel. If we were to view a bird?s world, blue jays would be viewed as the bullies. They are loud, territorial, and aggressive. The blue jays represent the prejudice ?bullies? in Maycomb and society. The mockingbird is a symbol for two of the characters in the novel Boo (Arthur) Radley and Tom Robinson. The mockingbird symbolizes these two character because they do not have their own songs. Whereas, the blue jay is loud and obnoxious, the mockingbird only sings other birds songs. If a mockingbird does not sing its own song, we characterize it only by what the other birds sing. We see the mockingbird through the other birds. In the novel, the people of Maycomb only know Boo Radley and Tom Robinson by what others say about them. These characters do not really have their own ?song? in a sense and are therefore, characterized by other people?s viewpoints.

Boo Radley, one of the well known symbolized mockingbirds, show how a good person can be injured by the evil of mankind. Boo a character who never steps foot outside of his house, nor maintain any relation with the people of Maycomb; causes people to fear him and make up stories about him without even getting a chance to know him. Mainly prejudice like this is what keeps Boo in his house. In the novel, Scout connects Boo with the mockingbird. Mrs. Maudie defines a mockingbird as one who ?don?t do one thing but make music for us to enjoy. They don?t eat up people?s gardens, don?t nest in corncribs, they don?t do one thing but sing their hearts out for us. Boo is exactly that. Boo is the person who put a blanket around Scout when it was cold. Boo was the one putting gifts in the tree. Boo even sewed up Jem?s pants when they were tore. Boo was the one who saved their lives. On the contrary to Scout?s primary belief, Boo never harms anyone. Scout also realizes that she wrongfully treated Boo when she thinks about the gifts in the tree. She never gave anything back to Boo, except love at the end. When Scout escorts Arthur home and stands on his front porch, she sees the same street she saw, just from an entirely different perspective. Scout learns

what a Mockingbird is, and who represents one.

Tom Robinson, one of the best examples in the novel of how innocence is destroyed by evil. Tom is a black man who, who the community of Maycomb judge him by the stereotype of black males. On his way home from work, he is often called upon by a young white girl, Mayella Ewell, to help her with her chores. Not because Mayella is white, but because Tom is genuinely and kind, he helps her with her chores. When Mayella shows her affections to Tom, he does not make any effort to physically push her away for her approaches, but instead decides to flee without harming her or Bob Ewell. Later in the story, the honest and helpful Tom is unfairly convicted of rape against Mayella Ewell. By running from the crisis that Mayella put him in, instead of staying and asserting himself, Tom gives the Ewells freedom to make whatever claims they want in court; which causes the stereotypes of black males to cloud the heads of the jury members and citizens, Tom is founded guilty for a crime he didn?t commit.

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Before reading To Kill a Mockingbird, the title itself means nothing. The title is the foundation of a house. It is just a slob of cement, and cannot be interpreted. While reading the book, pieces of wood fit together and the house starts to stand up. After reading the book, the house is fully painted and decorated. The landscaping is complete, and the house is beautiful. Several things and people represent the Mockingbird throughout the novel, but Hyper Lee mainly uses Boo Radley and Tom Robinson to represent the symbolic theme. Boo is an outcast in the neighborhood, and Lee is trying to show that every neighborhood has a Boo in it. She shows how Tom is the representative of the outcast in society throughout the United States, therefore showing us that there are Tom Robinson?s in all of our neighborhoods or communities. When Atticus tells Jem and Scout that it is a sin to kill the mockingbird, this refers to the actions directed towards Tom and Boo. It was a sin to dislike Tom and Boo based on what others say about them. They were punished by the people in Maycomb because they did not have their own voice. Lee is trying to explain to her readers that there are many people without their own voice in our society. But, as it is a sin to kill the mockingbird, it is a sin to kill those without a voice. The message of the novel is to stop knocking those people down who do not have a voice. Once again, it is a sin to kill a mockingbird, which is explained in To Kill a Mockingbird. The mockingbird symbolized innocence and purity. To kill a mockingbird is to destroy that innocence.

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Penguins

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Penguins are an old type of bird, having traces back to 45 million years ago. Penguins are said to be evolved from ostriches. Penguins, like all other birds are warm-blooded. The southern hemisphere is the only place you will find penguins. This is thought to be because of the way the islands coasts are structured. The rocky coasts found commonly in the northern hemisphere are dangerous to the penguins, because of their loss of cover. Contrary to belief, penguins live in more places than just cold regions. In fact, penguins have been seen to live as high north as Ecuador. Penguins feed under water, killing small fish for food. Penguins have a unique coloration that makes them popular. People compare this to that of a tuxedo. There is a reason behind this feature. When you look down into the water, it looks dark. That is why the penguins back is black. It blends in with the darkness of the deep water. When you look up from below the water, it looks bright. The penguins white front blends in with the brightness of the surface of the water.

The largest and smallest species of penguin are the emporer and fairy; respectively. The emporer is the most populous species on the planet. The taxonomy of the penguin are as follows kingdom, Animalia; phylum, Chordata; class, Aves; subclass, Impennes; order, Sphenisciformes; family, Spheniscidae. The major genuses of penguin are the Aptenodytes, Pygoscelis, Eudyptotes, Spheniscus, Eudyptula, and Megadyptes. One unique type is the crested penguins. These penguins have riffs of feathers around their head. The different species of crested penguins are easily identified by the coloration of these crests.

Penguins bodies are adapted to their environment very well. This is why they have been around for so long. Penguins must take in lots of food to complete their metabolic activities needed to stay warm. This has caused them to need a large stomach. For this they lose their ability to fly, but gain the ability to withstand the long periods of cold. Penguins feathers develop special oils that keep water away from the penguin. If it werent for this they would catch hypothermia very quickly. After time, these feathers will lose their oil and become damaged. Unlike hair, feathers grow once and never grow again. To repair their feathers they must go through a process called moulting. While moulting, all the penguins feathers fall off, and it grows new feathers. During this period, the penguin has little protection from water, so the penguin must stay on land. This is because the new feathers havent developed their oil yet. The whole moulting process usually takes three weeks. Before the penguin moults, it must take in large quantities of food, like the mammals do when they hibernate. The legs of a penguin are very small. They are covered in feathers, and hard to see. Penguins waddle on these small legs, not because the legs are small, but because it saves energy. Instead of having to move all the leg muscles, the penguin just needs to move a few. The penguin must keep all energy it can, because it gets its heat from energy. Blood travels to these legs in a special way. The blood is actually heated up when it is sent to the legs. This is to keep the legs very warm to keep from freezing to the ice. Penguins have developed a special eye. This eye has very strong light focus in front of the penguin and has very keen sense to blues. Reds and yellows are filtered out, because they are what causes the blur we humans see when we see under water. The penguins also have a disadvantage their field of view. Their eyes sight only overlaps at a small portion obove the beak.Without both eyes overlapping, it is hard to tell how far something is. However, their overlapping sight is very good below them. Because of this, a penguin will swim above its prey, then itll dive at it. If it just dived at it normally, it wouldnt know how far to dive.

Predators of the penguin are divided into two categories. Land and water killers. The land killers are the giant petrel, pedatory gulls, sheathbills, and some sea gulls will feed on penguin eggs. In some areas, even dingos, rats, cats, and dogs are the predators of the penguin. The water killers are leopard seals, fur seals, whales, and sharks. The whales and sharks only attack penguins of the tropical or sub-tropical environment. Penguins from New Zealand, South Africa, and Australia are most threatened by sharks. Penguins in the antartic are most threatened by seals.&

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Penguins are said to be probably first seen by the Portuguese explorer Bartholomeu Diaz, although no proof has been discovered of him actually seeing the penguin. The first recorded discovery was by Alvero Vello. He sailed with Vasco de Gama in 147, around the Cape of Good Hope. He wrote in his journal about penguins, for which he called otilicarios. He wrote Theyre as big as ducks, but cannot fly because they have no feathers on their wings. These birds, of which we slaughtered as many as we could, cried like donkeys.... Of course, he failed to realize that penguins do have feathers on their wings, so the reason they cant fly is not because of this.

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Indeginous African theatre

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Indigenous West African Theatre Pre-colonial

African traditions of professional entertainment date back to ancient times. Storytelling, music, and dance have all played a central role in African culture, because they help preserve history and religious and social customs Traditional drama in Africa combines storytelling, songs, and dances with costumes, masks, mime, and drumming. Another important part of that tradition are traveling entertainers, including griots (poets) and singers who praise tribal leaders and other important figures. Playwrights today draw upon these traditions for dramatic material. Contemporary social issues or political events, such as the struggle for independence or tribal warfare, also supply themes and plots for plays. (I thought this would be good introduction for our section-both groups- I was thinking of doing it).

Presently the Drama in French West Africa has been fostered by French-language academies. In West Africa, theatre artists received their training in public schools and universities fashioned after European models. However various factors have been responsible for the indigenous Pre- colonial West Africa Theatre.

How indigenous West Africans came up with their play

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Class formation and social innovation were very much part of pre-colonial history and were reflected closely in the performing arts. The way in which pre-colonial African societies organized their labour to create the necessities of life was meditated in an initiating way by popular theatre. A good example of this is the Kote-tlon theatre of the Banama people in Mali.

· The Kote-tlon was a group of young Banama comedians. Their plays were based on showing how the system of the "age-grade association" was good for their community.

What was the "age-grade association"? Banama labour teams were organized through age-grade associations known as Ton and were not allowed to marry nor have total freedom until a certain age. The Ton was called Ngonson ton when it acted as a collective agricultural labour force or was used on public work projects initiated by the council of elders; the same group, under the age-set leadership, called Flamekew, operated as an entertainment society, known as Koteba ton, for the production of theatrical performances. These groups through acting showed their frustrations in those "age-grade associations".

The Kote-tlon portrayed through acting that if there were no "age-group association", the young men would in return become greedy, unfaithful morons. Such stereotypical problems would reduce the productivity of agricultural, which the community was very dependent on.

The labour exploitation system enforced ate marriages. This resulted in frustactions, which led to their themes of plays to have satire on sexual themes aimed at unfaithful wives, impotent old men and cuckold. This is a typical case of youth venting their sexual frustrations in an inhibited manner.

· A good example of a pre-colonial masquerade, which developed a sophisticated system of satiring caricature, was the Okumpa drama of the Afikpo from Nigeria Cross-river region.

The Okumpa masquerades, like those of Banama, were very related to all-male ancestral cults, controlled by the elders in the Afikapo society. It was particularly the wealthy, titled male elders who displayed their influence over the Okumpa by acting as patrons, for the plays, either through direct support to the performing troupes or by "dashing" the actors during arrangements for the plays. To start with, the timing of the performances (in the dry season after the harvest) was one of the economic adjustments, when prominent farmers wished to show their wealth.

The satires referred to general targets, especially members of alien groups such as Muslims. More often, however they referred to specific individuals in the society. There were two favourites groups of targets women who intruded on the all male privacy of the cult and greedy, selfish or ineffective elders. The stereotypes were backed up by stylising masking, costume and props.

· Another focus of pre-colonial conflict, which performing arts helped to meditate, was that of tension between the chief's desire for centralized control and commoner's tendencies to cut themselves off from the royal palace.

Such tension can be seen in the early nineteenth-century state of Benin, where the conflict between the "pure" metropolitan Bini people, loyal to the Autocratic Oba and peripheral Ekpo community of ex-salves was expressed in the performing arts. The rituals of the Bini people centred on the semi-divine Oba who controlled the judiciary, the system of tribute, patronage and the granting of title; the theatrical elements at court constantly reintegrated the Bini people into that power nexus.

Special Effects

Masks in Africa have been part of the early theatrical traditions of both East and West. Masks helped enlarge the actors features for visibility at great distances, and they express basic emotions, such as grief, anger, horror, sadness, or pity. They helped create an altogether different presence for the actor wearing the mask. That presence can be stately, heroic, awesome, or mysterious.

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Their Eyes Were Watching God

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I stand before ya'll today wid the purpose of telling a story. Rather, my intentions are to tell ya'll, not preach, a story a story of facts wid only a minimal amownt of peppering wid mah emotional bias. Mah story of self-exploration, self-empowerment, and ultimately, self-realization, begins with mah birth as a mule. What's a mule you might ask? A mule in the most literal sense is a half-horse, half-donkey. All you old-generational folks know dat "de nigger woman is de mule uh de world so fur as Ah can see" (14). A mule can be compared to a mulatto, which brings me to the start of mah journey. A mulatto, half-black, half-white, was wut God fated me to be. I was born confused wid no identity. I wanted to shine mah own light, fullow mah own path without worrying about de darkness in an attempt to discover truth mah pear tree.

Slavery kept mah Nanny from fulfilling her "dreams of whut a woman oughta be and to do" (16). Likker and a sick ol' man kept mah ma from fulfilling Nanny's dreams. I tell you, many a times the "Lawd a'mussy!" (1). Naturally, I was given the burden of mendin mah Nanny's "cracked plate" (0). Puttin together the pieces of dat darn cracked plate took "the biggest thing God ever made, the horizon, and pinched it in to such a little bit of a thing that [I] could tie it about [Nanny's] neck tight enough to choke her" (8). Nevertheless, I kept my façade by marryin all 60 acres of Logan Killicks. And in those 60 acres was a "lonesome place like a stump in the middle of the woods" () where I waited for love, which never did come, to begin. Instead I was "surprised" wid workin a plow and a threaten from mah "love" himself to kill me wid his axe cuz of mah "powerful independence" (0). Then dat mean ol' controlling sermon-wishin lady died, and I was able to throw off mah nasty domestic apron and sail like a majestic ship into all 00 dollars of Mr. Joe Starks. He appeared as ah man wid principles who spoke fuh change and chance to expand the God-given gift of de horizon. Boy, was I suh wrong! I became suffocated because of his head-rags, mah silent rebellions, and his force of "irresistible maleness" (7) before whom de whole world bowed. I was gaspin fo mah long flowy hair, "blossomy openings dusting pollen," and "glistening young fruit where the petals used to be" (7). I still remained a mule, objectified like a medal around his neck.

After dat man Jody, with "de change uh life" (7) under his britches, died, mah head rags burned, and mah liberated hair sailed with de free wind. Den I met Tea Cake. Tea Cake gave me a chance to truly live in mah fruitful pear tree. I was done with the "love game" and told myself dat "ah done lived Grandma's way, now Ah means to live mine" (114). I married all million ounces of Tea Cake's love and youthfulness. He presented me with opportunities to shoot, drive a car, and enjoy mah personal beauty. In mah eyes, and surely in all of your eyes, "he was a glance from God" (106). He dint force me to conform to all of yuh standard rules of society. I lived how I wanted to live. Mah "self-crushing love" (18) allowed mah soul to crawl out and expand mah horizon fartha than Ah'd eva imagined. I pulled it in "like a great fish-net. I pulled it from around the waist of the world and draped it over [mah] shoulder" ( ). Den, while savin mah life - while savin mah life - "that big old dawg with the hatred in his eyes" manifested himself in mah precious pear tree. Although Tea Cake was still physically alive, he was mentally gone. He snarled like that big dawg, and soon, "something else was looking out of his face" (181). I had to pull the trigger because "Tea Cake couldn't come back to himself until he had got rid of that mad dog that was in him and he couldn't get rid of [de] dog and live" (187). He needed to be put out of his physical misery.

Through my journey of ultimate self-realization, I have come to learn dat passion and love are tied to violence. I have come to learn dat love duhs not equal property. I have come to learn dat love duhs not equal "some dressed up dude dat got to look at de sole of his shoe…tuh see whether he got enough leather dere tuh make it across" (). I have come to learn dat true love is planted before marriage and blooms during marriage. I have come to learn dat age don't make no difference. I have come to learn dat de pear tree is attainable. I have come to learn dat freedom is "something internal," and "man himself must make his own emancipation" (16).

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I am neither a cold-blooded murderer nor a poor-broken creature. I am a woman who has experienced and shared the power of love. I am a woman who has gone to God and found out about livin' fuh myself. I am a woman who is truly happy and satisfied.

Now, I don't expect ya'll to have tears in yuh eyes. I don't expect ya'll to pity me. I don't expect ya'll to pardon me. I don't expect ya'll to understand mah story. Just don't misunderstand. It is not death I fear, it is misunderstanding. I fear not death cuz I "kin see de light at daybreak" and "don't keer if [I] die at dusk" (15). Until ya'll choose mah fate, mah eyes are and will always be watching God.

Please note that this sample paper on Their Eyes Were Watching God is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on Their Eyes Were Watching God, we are here to assist you. Your cheap college papers on Their Eyes Were Watching God will be written from scratch, so you do not have to worry about its originality.

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