Essay on Scars of Sethe and Paul D in Toni Morrison's Beloved

First, the author uses descriptive imagery to form a strong image in the reader’s head. The text states, “The scars were thick ridges, alternating bright pink and white, in stripes up from her neck.”(pg.16) The author describes a girl she met in the mental hospital. By the vivid words

 In the novel Beloved, the author, Toni Morrison, attempts to promote a variety of different themes and ideas by symbolizing them in minor events and situations.  This symbolism is evident throughout the entire novel and is very crucial to the understanding and analyzing of the text.  A good example of this is the ice skating scene.  Morrison uses this scene to represent the slow, but consistent, deterioration of the family living in 124 and to foreshadow the ultimate demise of the family unit.  Morrison writes repeatedly, “Nobody saw them falling,” yet in all reality they were falling, and falling fast (Morrison 174).  There are a number of details, including the setting, Sethe’s emotions, the choice of

Georgiana had always lived with the birthmark, and was quite fond of its charm. Many people in the town believe it was a fairy’s handprint left to sway all hearts; to them the mark only magnified her appeal. The mark’s charm had rarely been questioned by anyone other than the jealous women of the town, and its peculiar nature had once intrigued Aylmer and amplified his attraction to Georgiana. He begged for her hand in marriage, but soon after they were wed, he queried whether Georgiana had ever considered having the birthmark removed. She was hurt by the implication that the mark depreciated her and grew upset with her husband. As time passed, Aylmer continued to stare at the mark, unable to keep his eyes from wandering to it. This continued until Georgiana was no longer able to ignore the way his eyes were always fixated on this sole imperfection, the crimson hand that kept him up at night and plagued his dreams. She asked Aylmer to remove the mark, or take her life because she no longer wanted to live if she had to live with the mark. She preferred death to the harsh scrutiny from her husband.

In her novel Beloved, Toni Morrison spins an intricate web between names and numbers for the reader to unravel. The deep connection that lies between names and numbers is a direct correspondence to the identity and worth of black people during slavery. Beloved begins with the identity of the house which is characterized by a number. The house is given a temperament as if it is a living, breathing entity and yet it still referred to as a number. The significance of this is symbolic to the plight of the black slaves. Regarded as little above the common animal, slaves were defined by their selling price, essentially they were reduced to a number. Viewed as nonbeings they nevertheless feel and suffer their place in the south. The character Beloved is similar in this regard as well. All that defines her is an age and a name that remains unfluctuating through time. In an insufferable and cruel world, names and numbers play a critical role in understanding the identity of black existence in the South. To uncover the implications and nuances that names and numbers play will be instrumental to delving into the lives of black slaves. Beloved contains a vast amount of names and numbers and the connections between them deepen the novel and provide mammoth insight into understanding and interpreting Morrison’s work and purpose for juxtaposing such elaborate bonds between names and numbers.

Sethe says she believes she won't even have to explain her motives for killing her (a love so great she can't let her be taken into a life of slavery). "I don't have to remember nothing," Sethe tells herself on page 183. "I don't even have to explain. She understands it all." Sethe believes the one true way she will find restitution and understanding with Beloved, is by knowing the mark she has left on her daughter. "I only need to know one thing. How bad is the scar?" Sethe feels that by knowing the scar, by touching the "memory of a smile under her chin," she can feel her daughter's pain and connect with her.

However, unlike Paul D, Sethe thinks about trees to calm the pain and suffering she went through as a slave. During her time spent in slavery, Sethe witnessed events such as whippings, lynching, and hangings. In her memory, Sethe choses to focus on other things such as plants and trees preventing her from reliving painful memories. “Boys hanging from the most beautiful sycamores in the world,”...“ Try as she might to make it otherwise, the sycamores beat out the children every time and she could not forgive her memory for that.”(Morrison 7) Another instance where Sethe looks to trees for healing and escape is when she describes the scar on her back to Paul D. “I have never seen it and I never will, but that is what she said it looked like. A chokecherry tree. Trunk, branches, even leaves. Tiny little chokecherry leaves.”(Morrison 18) Sethe also views plants as a life force and seems to always acknowledge them during the moments in which she is happiest. For example, living in freedom with her family, Sethe describes the beauty of the day. “The sky was blue and clear. Not one touch of death in the definite green of the leaves. She could hear birds and, faintly, the stream way down in the meadow.”(Morrison 162) Overall, Sethe's relationship with plants is that she views them as a life source with the power to distract and heal her from the abominable memories that still haunt

In Sethe’s view, “ Not only did she have to live out her years in a house palsied by the baby's fury at having its throat cut, but those ten minutes she spent pressed up against dawn-colored stone studded with star chips, her knees wide open as the grave, were longer than life, more alive, more pulsating than the baby blood that soaked her fingers like oil.” This means that Sethe lived with the pain of knowing what she did to her baby and in order to get something written on the baby’s grave she had to pursue in a terrible act. This demonstrates that Sethe went through so much emotional and physical pain throughout her life due to her dead baby. Another example of why killing her baby was wrong is, “So Denver took her mother’s milk right along with the blood of her sister.” Morrisons point is to show that Denver as a child had to experience and be a part of Sethe’s terrible blood bath of her own daughter. This is important because no one likes the idea of a little kid being involved with something so devastating. The fact she was attached to her own sister’s blood is scarring. According to Paul D, “What kind of evil you got in here?” This exemplifies that when Paul D first stepped into 124, he sensed the death and anger within the house coming from Beloved. What is more important, the idea of Paul D having sense the evil within the house when he first walks in shows how strong the dead baby is.

Sethe understands that her history, filled with the pain of slavery, grief over losing her children, and guilt over Beloved's death, and tries to hide from all the anguish. However, she admits that the past seems to "always be there waiting," thereby emphasizing the idea that past horrors of life continue to haunt forever. It appears as though the power of her experience in slavery influences her so greatly that the memory triggers great pain, causing the horrifying incidents to "happen again." Even though Sethe understands that she cannot ever fully escape her history as it will come back to trouble her, she still tries to avoid them and thus attempts to shield her daughter from the horrors of history: "As for Denver, the job Sethe had of keeping her from the past that was still waiting for her was all that mattered" (45). It seems as though Sethe tries to deny the fact that history does not simply disappear. She still tries to protect Denver "from the past" even though history "waits," prepared to cause trouble and inflict the pain Sethe tries to repress. It appears as though Sethe continuously tries to fight against her memories and ignore her past in part one. For example, after she wakes, she begins "Working dough. Working, working dough. Nothing better than that to start the day's

Liam looked up at his older sister. It was true, it's no secret that Scarlett is obsessed with quotes and it just so happened to be that one quote that she would say to him every night, before he goes to sleep. Though, no matter how many times he heard it, he still never got the meaning of it. So, being tired of not knowing, he finally asked, "What does that mean Scar?"

In “The Birthmark” the relationships and behaviors of the character reveal much more than the story itself does. The characters of Aylmer, Georgian, Amenidab and Nature itself, through their words, actions, and behaviors give insight into a much more meaningful story. A deeper analysis of the characters reveals that they are archetypes, and as archetypes they provide a deeper hidden meaning to the story. By looking at Aylmer, Georgiana, Amenidab and Natures relationships and actions throughout the story we can see how they are used to give deeper significance.

Sethe lives in the shadow of her act of infanticide throughout the entire length of the book. This is because its legacy pervades itself throughout the entire novel, showing events leading up, and ways the future has been affected. The novel begins as such: “124 was spiteful. Full of a baby’s venom. (Page 1)” This baby refers to Beloved, who became a ghostly presence in Sethe’s house and continuously terrorizes the house

Toni Morrison’s Pulitzer Prize winning book Beloved, is a historical novel that serves as a memorial for those who died during the perils of slavery. The novel serves as a voice that speaks for the silenced reality of slavery for both men and women. Morrison in this novel gives a voice to those who were denied one, in particular African American women. It is a novel that rediscovers the African American experience. The novel undermines the conventional idea of a story’s time scheme. Instead, Morrison combines the past and the present together. The book is set up as a circling of memories of the past, which continuously reoccur in the book. The past is embedded in the present, and the present has no

Morrison and Twain each present freed slave mothers as self-sacrificing. Each woman 's traumatic experiences as slaves create a deep fear of her children 's enslavement. In Morrison 's Beloved, Sethe is so distressed by her past; she murders her child to save her from slavery. Morrison uses Sethe 's drastic sacrifice to comment on slavery 's psychological effects. Meanwhile, Twain 's Pudd 'n Head Wilson portrays Roxy as a sacrificial mother to create sympathy for black people. From a cultural perspective, Roxy counters all of the propaganda about black people in the nineteenth century. Roxy plans to kill her son and herself, but figures out a different way to save her son from slavery. Both characters are selfless mothers, but the authors use this sacrificial behavior to prove different points about slavery. Morrison uses her characters selflessness to show the distress slavery can cause, while Twain capitalizes on the sympathy it creates to humanize black people in the public 's view.

If ignorance is bliss, then why is it human nature to uncover the truth? In Toni Morrison’s Beloved, the character Denver uses knowledge to feed her craving in hopes that it will fill the void her mother unsuccessfully tried to satisfy with the blood of the past and too little milk. To understand these truths one must accept that Beloved is a physical representation of the past, Sethe embodies the present, and Denver exemplifies the future. Throughout the novel these three characters interact on a superficial level, but each action has a deeper underlying influence on the other. This is why Denver’s assumed motive of using the attachment she forged with Beloved to develop a closer relationship with Sethe is cursory. When in fact it was for

Her healing actions toward Sethe, not only gives Sethe the physical strength to go on, but the restoration of self-worth and dignity.