Beloved is a novel that speaks about several issues. It reflects the harsh reality of being a black mother and voices the positions of daughters, The first page of the novel, which usually plays host to a dedication of sorts, is inscribed grandmothers, fathers, male friends, neighbours, community and the mother herself. Sethe's actions are measured and weighed against with the ominous "Sixty Million and more." The words refer to the estimated number of numerous atrocities, destructions, and possible responses to them. The text therefore deliberately centres on the historical fact that there were Africans who died in the Middle Passage between Africa and North America. The slave black women during slavery who suffocated their babies rather than allow them to be offered up to destruction by slavery. In other words, the trade was notorious for its dirty, crowded ships, into whose cellars Africans were forced to spectre of Beloved, the living embodiment of Sethe's mother love and painful past of enslavement which she represents is never really lie for periods of up to twelve weeks. The reference and the implication of a dedication destroyed. That past is allowed to dissolve into mythology and history of the community. are more than enough to set the theme of slavery firmly into the reader's mind. Morrison draws the attention of people to the crucial position of black women in the U.S. In an interview with Nellie Y. McKay (1983), she said that she thinks black women are in a very special position regarding black feminism as an advantageous one, white women generally define The epigraph, a passage from the Bible (Romans 9:25) is a statement by Hosea quoted black women's role as the most repressed because they are both black and female, and these two categories invite a kind of repression that is by Paul in a sermon on the ultimate sovereignty of God. We do not know, claims Paul, pernicious. But in an interesting way, black women are much more suited to aggressiveness in the mode that feminists are recommending, whom the Lord has chosen to save. Thus, until the final judgment, the Lord may call a because they have always been both mothers and labourers, mother and worker. The history of black women in the states is an extremely person "beloved, which was not beloved," (i.e. who was not made to be saved). By citing painful and unattractive one but there are parts of that history that were conducive to doing more rather than less, in the days of slavery. We a New Testament passage which repeats with little difference an Old Testament one, think of slave women as women in the house, but they were not, most of them worked in the fields along with the men. They were required to Morrison creates uncertainty about the relationship between past and present. The do physical labour in competition with them, so that their relations with each other turned out to be more comradeship than male context, however, serves only as a background-perhaps to evoke the uncertainty of our dominance/female subordination. When they were in the field collecting cotton or doing whatever the owner or slaves did not care. Whether lives. In the foreground is the juxtaposition of the past and present of the quote-the they were women or men-the punishment they have varied: they could beat both, rape one, so that women could receive punishment but the naming of someone beloved who was not beloved-as well as the religious overtones. requirements were the same, the physical work requirements. What Morrison does in Beloved is that she unearths at the excavation site “the silenced voice” of the black slave woman, whose story more often has been told by the black male narrator whose focus was primarily upon his journey to wholeness. The women who appear are not The opening section presents many of the events which are later unraveled in the novel. The mere fixtures; through them, the horrors of slavery are unravelled. The structure of the novel foregrounds the ambivalences of slave women time-scale is elastic. References are elliptic: coherence is denied and details are given that will about motherhood which violates their personal integrity and that of their family. Foregrounding the theme of motherhood, Morrison divides only be contextualized during the course of the novel. The unfolding and disintegration of Sweet the text into twenty-eight unnumbered, mini-sections, the usual number of days in a woman’s monthly menstrual cycle. Home, Sethe’s escape, Denver’s birth and Sethe’s act of infanticide are ‘stories’, remembered narratives, that start here and are developed throughout the novel. The reader has to accept the supernatural presence in 124 from the very first page. Despite the pointed clues in the narrative we cannot be sure about the exact identity of Beloved, we do not The first chapter serves mainly to build up characterisations of the principal characters: Sethe, Denver, and Paul D. Sethe is know the baby girl’s real name: Beloved is the only name on the gravestone, based on the portrayed as an iron-willed woman who is attempting to escape her own past. Her face is described as being "too still for comfort . minister’s address at the funeral – ‘Dearly Beloved’. a mask with mercifully punched-out eyes." The past, however, constantly creeps up on her. Though she "worked hard to remember as close to nothing as was safe," her "brain was devious." There is some tension here caused by her denial of the past. The The multi-accentuality of language, the fact that words, according to context and speaker can arrival of Paul D forces her to relive part of that past and it relieves her: "What she knew was that the responsibility for her breasts, have different meanings, is exemplified. Paul D feels ‘bad’ (p.7), Sweet Home was neither sweet at last, was in somebody else's hands." Morrison builds up Sethe and Paul D with metal imagery: Sethe’s ‘iron eyes and back bone nor home (p.13) and the tree on Sethe’s back is a network of scars. to match (p.9)’ and also imagery associated with economic exchange and debt (‘I paid for the ticket… it cost too much p.15 and the Freud believed that everything that is repressed must eventually emerge in order for healing to sex to pay for the letters on the grave). This concept is applicable to other characters too: Stamp Paid’s name is testifying to his occur. In the novel, the repressed traumatic experiences of the ex-slaves come out slowly as the ‘debtlessness’ p.185. These two sets of images have links to the novel’s historical context of slavery. The metal metaphorically implies characters tell the stories of their past over and over. In each telling, something more is revealed, the physical and spiritual bondage that Sethe and Paul D endured. The sense of debt and price is linked with having been with more details being added. The more they talk about their past sufferings, the more they are perceived as a human commodity, subject to valuation and sale. healed. The reader is the recipient of the stories and a witness of the healing. Despite her determination, though, there is a compassionate side to Sethe. It seems buried by many years, but is hinted at in the It is important to note that some critics have given significance to the numbers in this first chapter flashback when her milk is taken from her. The vividness of the imagery and the refrain "They took my milk" emphasises Sethe's of the book. 124, the street number of Sethe's house on Bluestone, adds up to seven. The word need to take care of her children. "beloved" that is carved on the baby's tombstone also contains seven letters. In the Bible, seven is considered to be a special number. God created the world in seven days. As a result, the seventh day became the Sabbath, and most religious celebrations, such as the feast of the Passover, Denver, on the other hand, does not possess the maturity of Sethe. Though eighteen, she is remarkably immature, perhaps because lasted seven days. she has not had any opportunities for social interaction. She is incredibly lonely, having only her mother (and the ghost) to keep her company. The arrival of Paul D threatens to separate her from her mother, which brings her misery and anger while Colours are also important in this first chapter. The house is on Bluestone Drive, but its colours are simultaneously revealing her immaturity. grey and white. Also the stairs that lead to Sethe's bedroom are white. In contrast to the light colours, Sethe, Paul D, and Denver are all dark-skinned. Later the colour red will become All three characters seem in need of some resolution: Sethe and Paul D of the past, and Denver of the present. important as it is associated with Beloved. The novel's narrative action mostly hovers between 1855 and 1873 (the Reconstruction era), though it was As Sethe and Paul D climb the stairs to her bedroom, he is overwhelmed by the fact that he has found her after eighteen years. He written in 1988. Certainly, Morrison intended for the novel to be considered more within the historical context is also excited that he is about to make love with Sethe after longing for her intensely so many years ago. In contrast, Sethe feels of American slavery and reconstruction, rather than the Reagan Era and the twentieth century.