| Speech Words (211 total) | |||||
|---|---|---|---|---|---|
| say | 41 | ask | 10 | asking | 2 |
| said | 40 | talking | 8 | saying | 2 |
| tell | 37 | telling | 6 | ask | 1 |
| told | 30 | asked | 4 | ||
| talk | 27 | talked | 3 | ||
| Time Words (184 total) |
|||||
| then | 50 | minute | 4 | hours | 1 |
| time | 49 | late | 3 | minutes | 1 |
| now | 43 | hour | 2 | seconds | 1 |
| before | 18 | o'clock | 2 | ||
| after | 9 | afterward | 1 | ||
| Violence Words (54 total) |
|||||
| kill | 14 | bites | 3 | steal | 1 |
| hurt | 10 | hated | 2 | stealing | 1 |
| killing | 6 | assault | 1 | suicide | 1 |
| bit | 5 | bite | 1 | tearing | 1 |
| hate | 4 | killer | 1 | ||
| Gun-Related Words (44 total) |
|||||
| kill | 14 | protection | 2 | guns | 1 |
| gun | 8 | barrel | 1 | killer | 1 |
| killing | 6 | crime | 1 | prowlers | 1 |
| bullets | 4 | criminal | 1 | shotgun | 1 |
| shot | 2 | gunpowder | 1 | ||
| Death Words (15 total) |
|||||
| dead | 6 | funeral | 2 | death | 1 |
| die | 4 | corpse | 1 | died | 1 |
The word "say" functions differently than the others in Jessie's speech. For Jessie, the word "say" is powerful. In segment 1.09, for example, she uses it repeatedly to name the act she is performing through her suicide:
This is how I have my say. This is how I say what I thought about it all and I say no. To Dawson and Loretta and the Red Chinese and epilepsy and Ricky and Cecil and you. And me. And hope. I say no! (75, emphasis hers)Jessie uses "say" as both a verb and a noun in this sequence, which gives it a dual purpose. She says "no" so that she might have her say. Jessie also seems to attach truthfulness with speech, for in segment 1.08, when Mama claims that she may be responsible for Jessie's state because she dropped her on her head when she was a child. Jessie simply replies, "If you said you didn't, you didn't" (71), which attributes power to the act. She also looks for authority with this word when she asks, "What did the doctor say?" (69), for she knows that Mama has a tendency to stretch the truth. Jessie also sees speech as a way of relieving her of any guilt in leaving Mama alone. When Mama says, in segment 1.09, "Jessie. I can't just sit here and say O.K., kill yourself if you want to," Jessie replies with "Sure you can. You just did. Say it again" (78). Jessie desperately wants Mama to express aloud that she can accept Jessie's decision. Additionally, Jessie uses "say" to express impotence. In segment 1.03, Jessie says, "I can't say it any better" (28) when Mama asks what her vague answer means. And in segment 1.07, when Mama suggests that she call Cecil, Jessie asks, "And say what?" (61).
For Mama, speech serves a special function. She thrives on conversation and cannot stand people who do not "say" things to her. For example, she complains of Daddy's refusing to speak with her on his final night alive in the following words: "He didn't have anything to say to me, Jessie. That's why I left. He didn't say a thing. It was his last chance not to talk to me and he took full advantage of it" (53, emphasis hers). Mama is upset with the relationship Jessie has with Daddy because it denies her companionship and conversation. She pursues this point in a number of instances throughout segment 1.05. To illustrate, Mama says, "You [Jessie and Daddy] had those quiet little conversations after supper every night. What were you whispering about?" (47), "What were you talking about [with Daddy]?" (47), and "I was jealous because you'd rather talk to him than anything!" (48). Obviously, Mama feels left out of Jessie's life. Thus, when Jessie says in segment 1.10, "I should've just left you a note!," meaning that she once again should have shut Mama out, Mama takes back her vehement "Yes!" by quickly saying, "No. No. I...might not have though of all the things you've said" (79). Norman's stage directions at this point also emphasize Mama's realization.
(Bernardy 54-56)
Nevertheless, I have discovered that Norman does use "now" in one distinguishing way in the dialogue. In Jessie's speech, "now" commonly appears as an introductory word that serves to focus Mama's attention on the activities Jessie has planned for the evening and to draw her attention to specific directions. For example, Jessie says, "Now, this drawer has everything in it that there's no better place for" (29), "Now, you know the milkman comes on Wednesdays..." (53), "Now, I'll just call them [food items] out..." (55), "Now, somebody's bound to ask you why I did it..." (81), "Now, when you hear the shot..." (82), and "Now, this number's where you call Cecil" (84-5). In each of these instances, Jessie announces her instructions/intentions with "now," and Mama recognizes her strategy, often retaliating against it. For instance, right after Jessie tries to focus Mama's attention on the junk drawer, Mama ignores Jessie's intent and asks something on her own agenda: "Sad about what?" (30).
Norman also uses the word "time" 49 times in the dialogue; however, the word does not distinguish either character. Rather, its use is dependent upon the topics under discussion. Both characters use the phrases "good time" and "all the time" almost equally and in similar manners. The phrase "good time" appears seven times in the text, along with one "swell time." Mama's and Jessie's reactions to this topic differ greatly because of their separate identities. Mama is willing to accept not having a good time and hopes for a change; Jessie will not accept it and moves to end the situation, which results in Mama's berating her for using it as an excuse to commit suicide. Obviously, Jessie and Mama have conflicting ideas about what is endurable and how much stock to put in hope.
"Time" also appears frequently in phrases such as "all the time," "every time," "most of the time," which express habitual or repeated actions or conditions. Interestingly, Jessie and Mama use "all the time" a total of four times in reference to epilepsy. Jessie also uses "most of the time" once and Mama uses "every time" once in connection with epilepsy. That these phrases surround the topic of epilepsy signals that the sickness has been a major part of their lives.
"Time" functions most dramatically in the final two segments of the play. Here Mama deplores her ignorance over Jessie's mental state: In segment 1.09, she says, "...I was here all the time and I never even saw it [Jessie's hurting]" (73) and in segment 1.10, "I was here with you all of the time. How could I know you were so alone?" (88). Jessie also uses "time" in a significant way in the final segment. She says, "It's time for me to go, Mama."
This discussion of "time" leads me to another time word, "o'clock." Although "o'clock" appears only twice in the text, much of the action is enacted against the clock, so I determined these uses were also worth examining briefly. Significantly, Mama is the only one to use "o'clock," once in segment 1.01 and once in segment 1.10. The way in which her evaluation of the concepts "o'clock" and "late" changes from the beginning of the play to its end reflects how Jessie's announcement has altered her attitude about the progression of time. In segment 1.01, before learning of Jessie's plan to commit suicide, Mama says, "Don't go making a big mess. It's eight o'clock already" (6), which signals that she considers the time to be getting "late." In segment 1.10, however, Mama states, "It's not even ten o'clock" (87), which contradicts her earlier statement, for she realizes how brief their evening together has been. Additionally, in segment 1.10, Jessie states, "It's too late" (87) while Mama insists that " It's not too late!" (87). Of course, each is referring to separate measures of time. Jessie is simply commenting on not being able to give Mama a manicure because it does not fit into her rather rigid time schedule this evening. Mama, on the other hand, is stressing that Jessie does not need to follow that schedule and follow through on her plan.
(Bernardy 56-9)
Finally, death words, the smallest of these five semantic fields, account for only 15 words in the play, although they are also related to the violence and gun-related words. It is only with a "gun" and "bullets," through "killing" and an impending "suicide" that Jessie and Mama address the commonly taboo topics an imminent "death" and funeral." Also, while speaking of her own death and funeral, Jessie makes references to Daddy's death and funeral. Again, Jessie seems to link various parts of her experience to the men in her life, for they, unlike Mama, do not ignore life's unpleasantries.
(Bernardy 59)