Chapter I. The valuable contribution of well

2.2.Semantic and statistic analysis of quotes used in the novel
“Invisible Man”.
Majority of the quotes in “ Invisible Man” novel jumped out
at me.They are so expressive.Each chapter include at least 3 prominent quotes.It’s so available to be given them into schedule which identifies the attitude of readers to the quotes.
Quote- 1)to mention an example of sonething to support what you are saying;
2)something that is quoted;espicially:a passage referred to,repeated, or adduced⁸

Chapters in the novel	Number of the so expressive quotes	Examples	One more example
Chapter I	3	. . . above her red, fixed-smiling lips I saw the terror and disgust in her eyes, almost like my own terror and that which I saw in some of the other boys. As I watched, they tossed her twice and her soft breasts seemed to flatten against the air and her legs flung wildly as she spun.	My fingers a-tremble, I complied, smelling the fresh leather and finding an official-looking document inside. It was a scholarship to the state college for Negroes. My eyes filled with tears and I ran awkwardly off the floor.
Chapter II-III	3	Of course I knew he was a founder, but I knew also that it was advantageous to flatter rich white folks. Perhaps he'd give me a large tip, or a suit, or a scholarship next year.	He was like a formless white death, suddenly appeared before me, a death which had been there all the time and which had now revealed itself in the madness of the Golden Day.
Chapter IV-VI	5	“Haven't you the sense God gave a dog? We take these white folks where we want them to go, we show them what we want them to see. Don't you know that? I thought you had some sense.”	A great seed had been planted. A seed which has continued to put forth its fruit in its season as surely as if the great creator had been resurrected.
Chapter VI-IX	3	Play the game, but don't believe in it—that much you owe yourself. Even if it lands you in a strait jacket or a padded cell. Play the game, but play it your own way—part of the time at least. Play the game, but raise the ante, my boy.	Be your own father, young man. And remember, the world is possibility if only you'll discover it.
Chapter X	3	White! It's the purest white that can be found. Nobody makes a paint any whiter. This batch right here is heading for a national monument!	. . . we want you to understand that this is nothing against you personally. What you see here is the results of certain conditions here at the plant. We want you to know that we are only trying to protect ourselves.
Chapter XI	3	I could no more escape than I could think of my identity. Perhaps, I thought, the two things are involved with each other. When I discover who I am, I'll be free.	I could no more escape than I could think of my identity. Perhaps, I thought, the two things are involved with each other. When I discover who I am, I'll be free.
Chapter XII-XV	3	I had lost my sense of direction. I spent my time, when not looking for work, in my room, where I read countless books from the library.	“But you were indignant. And sometimes the difference between individual and organized indignation is the difference between criminal and political action,” he said.
Chapter XVI-XVII	3	I thought of Bledsoe and Norton and what they had done. By kicking me into the dark they'd made me see the possibility of achieving something greater and more important than I'd ever dreamed.	A tall, friendly man, a lawyer and the Brotherhood's chief theoretician, he had proved to be a hard taskmaster. Between daily discussions with him and a rigid schedule of reading, I had been working harder than I'd ever found necessary at college.
Chapter XVIII-XIX	3	“But, please,” I laughed over the phone, “I'm no hero and I'm far from the top; I'm a cog in a machine. We here in the Brotherhood work as a unit,” I said, seeing Brother Wrestrum nod his head in agreement.	“Yes, primitive; no one has told you, Brother, that at times you have tom-toms beating in your voice?” “My God,” I laughed, “I thought that was the beat of profound ideas.”
Chapter XX-XXI	4	My mind flowed. It was as though in this short block I was forced to walk past everyone I'd ever known and no one would smile or call my name. No one fixed me in his eyes. I walked in feverish isolation.	It was as though he had chosen—how had he put it the night he fought with Ras? -- to fall outside of history. I stopped in the middle of the walk with the thought. “To plunge,” he had said.
Chapter XXII-XXIII	5	[“Y]ou were not hired to think. Had you forgotten that? If so, listen to me: You were not hired to think." He was speaking very deliberately and I thought, So . . . So here it is, naked and old and rotten. So now it's out in the open . . .	Integrity! He talks to me of integrity! I described a circle in the air. I'd tried to build my integrity upon the role of Brotherhood and now it had changed to water, air. What was integrity?
Chapter XXIV	5	“Hill, hell! We stay right here,” the man said. “This thing's just starting. If it becomes a sho 'nough race riot I want to be here where there'll be some fighting back.”	Here, at least, I could try to think things out in peace, or, if not in peace, in quiet. I would take up residence underground. The end was in the beginning.

“ I’s big and black and I say ‘Yes, suh’ as loudly as any burrhead when it’s convenient, but I’m still the king down here. . . . The only ones I even pretend to please are big white folk, and even those I control more than they control me. . . . That’s my life, telling white folk how to think about the things I know about. . . . It’s a nasty deal and I don’t always like it myself. . . . But I’ve made my place in it and I’ll have every Negro in the country hanging on tree limbs by morning if it means staying where I am.”
Dr. Bledsoe speaks these words to the narrator in Chapter 6 while rebuking him for taking Mr. Norton to the less desirable parts of campus. Bledsoe explains how playing the role of the subservient, fawning black to powerful white men has enabled him to maintain his own position of power and authority over the college. He mockingly lapses into the dialect of uneducated Southern blacks, saying “I’s” instead of “I am.” By playing the role of the “ignorant” black man, Bledsoe has made himself nonthreatening to whites. Bledsoe claims that by telling white men what they want to hear, he is able to control what they think and thereby control them entirely. His chilling final statement that he would rather see every black man in America lynched than give up his place of authority evidences his single-minded desire to maintain his power.
This quote contributes to the larger development of the novel in several ways. First, it helps to explain Bledsoe’s motivation for expelling and betraying the narrator: the narrator has upset Bledsoe’s strategy of dissimulation and deception by giving Norton an uncensored peek into the real lives of the area’s blacks. More important, this speech marks the first of the narrator’s many moments of sudden disenchantment in the novel. As a loyal, naïve adherent of the college’s philosophy, the narrator has always considered Bledsoe an admirable exponent of black advancement; his sudden recognition of Bledsoe’s power-hungry, cynical hypocrisy comes as a devastating blow. This disillusionment constitutes the first of many that the narrator suffers as the novel progresses, perhaps most notably at the hands of the Brotherhood.
“I am a man of substance, of flesh and bone, fibre and liquids- and I might even be said to possess a mind. I am invisible because people refuse to see me…When they approach me they see only my surroundings, themselves, or figments of their imagination- indeed, everything and anything except me.”
When somebody first reads the book , the above quote really stays out to. It seems very Dostevskyan.
You really enjoy coming of age books and this one is no exception. The book starts off with the narrator attending a college in the American South. Due to some events we won’t get into he moves to Harlem to look for work. We see the maturing process of the narrator as he goes from being an innocent boy to one who begins to question his identity but can’t seem to reconcile it with his role as a black man in (racist) 1950s America. And like any coming-of-age story, there is a lot of interior and external conflict.
It’s hard to really summarize this book because so much goes on. Of course the main issue is about race and how it was for a person of colour living in a racist society at the time. The book also gets political when it outlines different possible approaches for racial integration, one more radical than the other.
“ I am invisible, understand, simply because people refuse to see me. Like the bodiless heads you see sometimes in circus sideshows, it is as though I have been surrounded by mirrors of hard, distorting glass. When they approach me they see only my surroundings, themselves or figments of their imagination, indeed, everything and anything except me.”
The biggest question the novel raises evolves around identity (or lack thereof) in a world that demands we conform and meet the expectations of others. The unnamed protagonist becomes invisible, well he feels invisible, because the world cannot accept his opinions, desires and intellectual freedom: he must think, act and talk in a way he is told; thus, his personality vanishes as he becomes what he must.
He cannot form his own identity because every time he creates a sense of individualism he is knocked back because his expression of self does no adhere to someone’s wishes. And this lack of self prevents him from finding any sense of belonging because wherever he goes he is not himself. And this isn’t just about blackness in the face of a white society. This isn’t just about the postcolonial state of slavery and hybrid identity in the face of a supposed freedom from the shackles that bound the blacks to their masters; this is about American society at large: it’s about the world at large.
“When I discover who I am, I'll be free.”
And that’s what makes the novel so powerfully emotive and raw. The narrator enters many different communities and societies, each of which impose an idea upon him about the way in which blacks should behave. Some argue for perpetuating the stereotypical uneducated negro, some suggest that the blacks should be violent and reclaim there lost African heritage and others suggest for science and rationality in dictating the future of blacks in America. In each instance the narrator finds himself detached and separate; he plays an inauthentic role in trying to adhere to ideas about himself that he does not feel are right.
So as he walks through the world lost and confused, dazed and downtrodden, he tries to find himself and fails miserably. The language Ellison tells the story through is remarkable and perceptive; he has a ridiculously keen ear for dialogue and speech patterns that allow the narrator to express himself in way that demonstrates his disillusionment with the world. He is not a happy man, and this is not a happy book. It bespeaks the blindness of society, ideology and those that profess to act in our best interests.
“Life is to be lived, not controlled; and humanity is won by continuing to play in face of certain defeat.”
As I write these words, I’m about to begin my second read of this spectacular novel. There’s just so much in here that one read is simply not enough.⁹


2.3.Categorization of the main characters as to their personality type
The nameless protagonist of the novel. The narrator is the “invisible man” of the title. A Black man in 1930s America, the narrator considers himself invisible because people never see his true self beneath the roles that stereotype and racial prejudice compel him to play. Though the narrator is intelligent, deeply introspective, and highly gifted with language, the experiences that he relates demonstrate that he was naïve in his youth. As the novel progresses, the narrator’s illusions are gradually destroyed through his experiences as a student at college, as a worker at the Liberty Paints plant, and as a member of a political organization known as the Brotherhood. Shedding his blindness, he struggles to arrive at a conception of his identity that honors his complexity as an individual without sacrificing social responsibility.
Now expositions of one,two,three dimensional characters are given:
The grandfather The narrator's ancestor and spiritual guide whose deathbed revelation haunts the narrator throughout the novel and serves as a catalyst for his quest. He appears in the novel only through the narrator's memories.
The school superintendent The nameless white man who invites the narrator to give his high school graduation speech at the smoker, where he acts as master of ceremonies. After tricking him into participating in the battle royal, he rewards him with a calfskin briefcase and "a scholarship to the state college for Negroes."
Tatlock The largest of the ten black boys forced to participate in the battle royal. Tatlock and the narrator are final contestants in the bloody boxing match, which results in a temporary deadlock. In the end, Tatlock defeats the narrator and proudly accepts his $10 prize.
The Founder Modeled after Booker T. Washington, founder of Alabama's Tuskegee Institute, the Founder exemplifies the black American who rose "up from slavery" to achieve the American Dream. Although he does not appear in the novel, the Founder (like the grandfather) exerts a powerful influence on the narrator.
Kate and Matty Lou Jim Trueblood's wife and daughter, respectively.
Mr. and Mrs. Broadnax (Broad-in-Acts) The white couple who appear in Jim Trueblood's dream. Mr. Broadnax, like Mr. Norton, is a racist who hides behind a mask of philanthropy.
Supercargo The warden/attendant who transports the veterans from the hospital to the Golden Day once a week. The veterans hate him because he represents the white power structure.
Big Halley The bartender at the Golden Day. Although Supercargo is officially charged with keeping order at the Golden Day, it is Big Halley who ultimately maintains control. He has his finger on the pulse of the black community.
Ras the Exhorter (later Ras the Destroyer) Modeled after renowned black leader Marcus Garvey, Ras is a powerful orator and black nationalist leader who believes that integration with whites is impossible. He is violently opposed to the Brotherhood. Mr. MacDuffy Personnel manager at the Liberty Paint Factory who hires the narrator as one of several blacks chosen to replace white union workers out on strike.
Mr. Kimbro Superintendent at the Liberty Paint Factory, known to his employees as "the Colonel" and "slave driver."
Lucius Brockway The black man in charge of mixing paints and regulating the pressure on the boilers in the basement of the Liberty Paint Factory. Terrified of losing his job, Brockway causes the explosion that lands the narrator in the factory hospital. Like Dr. Bledsoe, Brockway is a "gatekeeper" who jealously guards his position and does his best to keep other blacks — whom he views as potential competitors for his job — out of the company.
Mary Rambo The kindly, black Southern woman who cares for the narrator after his release from the factory hospital. Although she lives in Harlem, Mary refused to let the corruption of the big city destroy her spirit.
Sister and Brother Provo The elderly couple evicted from their Harlem apartment.
Brother Jack-The white and blindly loyal leader of the Brotherhood, a political organization that professes to defend the rights of the socially oppressed. Although he initially seems compassionate, intelligent, and kind, and he claims to uphold the rights of the socially oppressed, Brother Jack actually possesses racist viewpoints and is unable to see people as anything other than tools. His glass eye and his red hair symbolize his blindness and his communism, respectively.
Tod Clifton-A Black member of the Brotherhood and a resident of Harlem. Tod Clifton is passionate, handsome, articulate, and intelligent. He eventually parts ways with the Brotherhood, though it remains unclear whether a falling-out has taken place, or whether he has simply become disillusioned with the group. He begins selling Sambo dolls on the street, seemingly both perpetrating and mocking the offensive stereotype of the lazy and servile slave that the dolls represent.
Sybil- is a white woman married to a man named George, who holds a leadership position in the Brotherhood. Because her husband is always busy, Sybil feels lonely and generally dissatisfied. The narrator sets out to have an affair with her, hoping to take advantage of her loneliness to get information about what the Brotherhood is up to. However, Sybil has no interest in politics or the Brotherhood’s operations. Instead, she drinks heavily and entertains racist fantasies that overly sexualize Black men. During the narrator’s encounter with Sybil, she asks him to participate in her fantasy of getting raped by a “savage” Black man. Sybil has an ambiguous presence in the novel. On the one hand, as a white person who views the narrator through the lens of a harmful sexual stereotype, Sybil represents yet another example of racism. On the other hand, as a woman who has also been objectified and denied opportunities for self-determination, she has some experiences in common with the narrator. In the end, though, Sybil’s loneliness and disenfranchisement do not enable her to connect with the narrator. Instead, she attempts to gain an advantage by asserting her own limited power over him.
Rinehart-A surreal figure who never appears in the book except by reputation. Rinehart possesses a seemingly infinite number of identities, among them pimp, bookie, and preacher who speaks on the subject of “invisibility.” When the narrator wears dark glasses in Harlem one day, many people mistake him for Rinehart. The narrator realizes that Rinehart’s shape-shifting capacity represents a life of extreme freedom, complexity, and possibility. He also recognizes that this capacity fosters a cynical and manipulative inauthenticity. Rinehart thus figures crucially in the book’s larger examination of the problem of identity and self-conception.
-The president at the narrator’s college. Dr. Bledsoe proves selfish, ambitious, and treacherous. He is a Black man who puts on a mask of servility to the white community. Driven by his desire to maintain his status and power, he declares that he would see every Black man in the country lynched before he would give up his position of authority.
Mr. Norton-One of the wealthy white trustees at the narrator’s college. Mr. Norton is a narcissistic man who treats the narrator as a tally on his scorecard—that is, as proof that he is liberal-minded and philanthropic. Norton’s wistful remarks about his daughter add an eerie quality of longing to his fascination with the story of Jim Trueblood’s incest.
Reverend Homer A. Barbee-A preacher from Chicago who visits the narrator’s college. Reverend Barbee’s fervent praise of the Founder’s “vision” strikes an inadvertently ironic note, because he himself is blind. With Barbee’s first name, Ellison makes reference to the Greek poet Homer, another blind orator who praised great heroes in his epic poems. Ellison uses Barbee to satirize the college’s desire to transform the Founder into a similarly mythic hero.
Jim Trueblood-An uneducated Black man who impregnated his own daughter and who lives on the outskirts of the narrator’s college campus. The students and faculty of the college view Jim Trueblood as a disgrace to the Black community. To Trueblood’s surprise, however, whites have shown an increased interest in him since the story of his incest spread.
The veteran-An institutionalized Black man who makes bitterly insightful remarks about race relations. Claiming to be a graduate of the narrator’s college, the veteran tries to expose the pitfalls of the school’s ideology. His bold candor angers both the narrator and Mr. Norton—the veteran exposes their blindness and hypocrisy and points out the sinister nature of their relationship. Although society has deemed him “shell-shocked” and insane, the veteran proves to be the only character who speaks the truth in the first part of the novel.
Emerson-The son of one of the wealthy white trustees (whom the text also calls Emerson) of the narrator’s college. The younger Emerson reads the supposed recommendation from Dr. Bledsoe and reveals Bledsoe’s treachery to the narrator. He expresses sympathy for the narrator and helps him get a job, but he remains too preoccupied with his own problems to help the narrator in any meaningful way.
Mary-A serene and motherly Black woman with whom the narrator stays after learning that the Men’s House has banned him. Mary treats him kindly and even lets him stay for free. She nurtures his Black identity and urges him to become active in the fight for racial equality.

Conclusion

We have to remark that the way Ralph Waldo Ellison complains about black’s situation in the world.This may be due to the fact that he was reporting real situations and people, especially Black society, could identify their situation with that of the novel. What can give us an idea about the restrictions a liberal society applied.
The invisibility of Ellison’s protagonist is about the invisibility of identity—above all, what it means to be a black man—and its various masks, confronting both personal experience and the force of social illusions. The novel’s special quality is its deft combination of existential inquiry into identity as such—what it means to be socially or racially invisible—with a more sociopolitical allegory of the history of the African-American experience in America. The first-person narrator remains nameless, retrospectively recounting his shifts through the surreal reality of surroundings and people from the racist South to the no less inhospitable world of New York City.While Invisible Man bears comparison with the existentialist novels of Sartre and Camus, it also maps out the story of one man’s identity against the struggles of collective self-definition. This takes the narrator-protagonist through the circumscribed social possibilities afforded to African-Americans, from enslaved grandparents through southern education, to models associated with Booker T. Washington, through to the full range of Harlem politics. Ellison’s almost sociological clarity in the way he shows his central character working through these possibilities is skillfully worked into a novel about particular people, events, and situations, from the nightmare world of the ironically named Liberty Paints to the Marxist-Leninist machinations of the Brotherhood. In the process, Ellison offers sympathetic but severe critiques of the ideological resources of black culture, such as religion and music.Fierce, defiant, and utterly funny, Ellison’s tone mixes various idioms and registers to produce an impassioned inquiry into the politics of being.
This novel covers all about writer’s life.In this novel,it is naturally seen he didn’t live simple.He had to struggle with “society” which couldn’t his abilities and sometimes successes.His guilty was only to be black.But why human beings don’t stop to separate the society into the blacks-the white;the poor-the rich;the weak-the strong...It is like no end.Not only separation,but also attitude towards this layers may see differentaties The book’s general ideas leads us to this statement.The writer lived even in this restrictive atmosphere, Ellison was able to find mentors -- a great gift of his. He was diligent and talented with his trumpet, but he knew he was not gifted enough to make it into the ranks of his idol, Duke Ellington. For him, music was less a calling than simply a way of being in the world. And it was jazz that would largely define his writing style.He didn’t lose his desire,aim of living in this society.He just managed to find his position in this life.This novel tought this rule again:”Never give up!”

References

1.Cotkin, G. (2003). Existential America.The Johns Hopkins University Press, USA.
2.. Decline of the new. USA.Geller, A. (1969). ‘An Interview with Ralph Ellison’.
3.Ellison, Ralph. Invisible Man. New York: Random House, Inc., 2002.
4.Ellison, R. Invisible Man. Penguin Classics, Clys Ltd,. England. 2001
5.Ellison, Ralph and Murray, Albert. Trading Twelves: The Selected Letters of 6.Ralph Ellison and Albert Murray. New York: Knopf Publishing Group, 2001.
7.Fabre, Michel. The Unfinished Quest of Richard Wright. Urbana and Chicago: University of Illinois Press, 1993.
8.Graham, Maryemma, and Amritjit Singh, eds. Conversations with Ralph Ellison. Yakson: University Press of Mississippi, 1995.
9.Hendin, J. (1978). Vulnerable People: A View of American Fiction since 1945.Oxford University Press, New York.
10.Howe, I. (1963). ‘Black Boys and Native Sons’. Dissent: Autumn 1963, (2),
11..Jackson, Lawrence. Ralph Ellison: Emergence of Genius. New York: John Wiley & Sons, Inc., 2002.
12.Juozapaiyte, R. (2001). ‘Quest for visibility in Ralph Ellison Ellison’s Novel Invisible Man’
13.Lyne, W. (1992). ‘The Signifying Modernist: Ralph Ellison and the Limits of the Double Consciousness’,PMLA107 (March 1992), pp.
14.Mart, C. T. (2012) ‘Existentialism in two plays of Jean-Paul Sartre’. Journal of English and Literature.
15.Mazlaveckiene, G. (2010). ‘Postmodern Elements of Character Portrayal in Ralph Ellison’s Novel “Invisible Man”. Zmogus ir Zodis
16.McSweeney, K. (1988). Invisible Man: Race and identity. A student’s companion to the novel.Boston
17.Porter, Horace A. Jazz Country: Ralph Ellison in America. Iowa City:University of Iowa Press, 2001. References
18.Tanner, T. (1971). City of words, American
19.The Black American Writer: Fiction, ed. C.W.E Bigsby, v.1, p. 167.
20.American literature 2006

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1^ May 19, 2021 No PP-5117 "On measures to bring the promotion of foreign languages in the Republic of Uzbekistan to a qualitatively new level

2^ American literature 2006

3^ American literature.2006

4^ Cotkin, G. (2003). Existential America.The Johns Hopkins University Press, USA.

5^ Jackson, Lawrence. Ralph Ellison: Emergence of Genius. New York: John Wiley & Sons,
Inc., 2002.

6^ Durty A.Cliff Notes on Invisible Man

7^ Durty A.Cliff Notes on Invisible Man

8^ Oxford dictionary of English

9^ References and Further Information Ellison, Ralph. Invisible Man. New York: Random House, Inc., 2002.