In "Sweat," one of Hurston's primary concerns is the issue of oppression within the black community. The relentless cruelty of Sykes towards his wife is the most challenging aspect of Delia's life, and she must find freedom from her domineering husband before she can tackle the broader issue of racial inequality.

This does not imply that Hurston simplifies Delia's struggles; her poverty and labor are closely tied to the white people for whom she works. A significant irony in the story is that Delia must exert great effort to clean the clothes of white people while her own garments are stained with sweat and blood. It is the combination of racial discrimination and domestic abuse that drives Delia to a level of desperation that is not uncommon among black women who bear the weight of dual oppression. Given her social and economic circumstances, Delia can no longer remain passive towards her increasingly violent husband, as she has attempted for fifteen years.

The narrative does not offer clear solutions; in fact, Delia's choices are quite restricted. Hurston emphasizes that a black washerwoman cannot simply wash away the mistreatment of an unfaithful and ruthless husband while adhering to a strict Christian moral code. As she must work on Sundays (contrary to tradition) to meet the heavy demands of her white employers, Delia ultimately finds herself resorting to a morally questionable means of dealing with Sykes. Whether she is justified in not intervening while he faces death, and whether Hurston is advocating for breaking a widely accepted moral standard, is ambiguous. However, Hurston vividly depicts the severe desperation of Delia's situation.

The editors of Fire!! might have felt compelled to publish their own magazine to address these issues, as the leaders of the Harlem Renaissance did not favor topics like immorality and internal oppression within the black community. Alain Locke and W. E. B. Du Bois wanted to present blacks as cultured, modern, and virtuous individuals, and were reluctant to highlight conditions that might undermine their goals. They prioritized reducing the high number of black men lynched each year over giving black writers complete freedom in their work. However, Hurston and her contemporaries insisted on no artistic compromise, which is why "Sweat" uncompromisingly portrays all aspects of a black woman's oppressive reality.

The frequent use of phallic snake imagery, along with themes of infidelity and sexual power dynamics, makes sex a central theme in "Sweat." When Hurston begins the story by describing "something long, round, limp and black" that falls on Delia's shoulders, she is playing a trick on the reader much like Sykes is playing a trick on Delia. This phallic imagery is intentionally startling to raise questions about sex and love within the context of the Joneses' marriage.

The reader immediately wonders why Delia is so frightened by this "bull whip" that falls on her, symbolizing the weight of oppression. It soon becomes evident that her fear stems from the physical abuse she has endured for fifteen years. Sykes is depicted as an aggressive figure, with his obsession with snakes hinting at a predatory nature. However, Hurston does not simply present this as a complaint about male dominance. The description of the bull whip as "limp," along with Delia's derogatory remarks, such as calling her husband a "suck-egg dog" whose "black hide" resembles "uh passle uh wrinkled up rubber," raises questions about Sykes's sexuality.

In his book Jump at the Sun, critic John Lowe highlights Delia’s tendency to "verbally emasculate" her husband, a concept related to stripping away "manhood," and suggests that Hurston is contemplating "the emasculation of the black man by a racist, capitalist society." This indicates a more nuanced power dynamic between Delia and Sykes than initially apparent. Hurston appears aware of the impotence Sykes experiences as a black man, displaying traits that leaders of the Harlem Renaissance sought to reject.

Although the author does not seem to excuse Sykes’s behavior, she explores the idea of shifting sexual power to a thin woman who works tirelessly for white people. Ultimately, Sykes’s sexuality, tied to cultural values, leads to his downfall. As Lowe notes, it is when he jumps onto the bed, a symbol of sexual space, that he is ultimately poisoned by the embodiment of his violent sexuality. This interplay of violent sexuality with racial and domestic oppression introduces a complex and ambiguous layer to the couple's struggle for sexual power.

Zora Neale Hurston’s narrative, deeply rooted in the black folk tradition, draws heavily from her experiences in Eatonville, Florida, a predominantly black community where Christianity was a fundamental aspect of life. Growing up with her father as a Baptist preacher, Hurston was steeped in Christian teachings and cultural practices from an early age. This religious upbringing continued to influence her work even as her life and studies led her to explore other spiritual traditions.

While Hurston studied under the tutelage of anthropologist Franz Boas, she conducted fieldwork that immersed her in the folklore of her community and the Caribbean, exposing her to the transformative influence of Voodoo. Nonetheless, Christianity persisted as a vibrant element of her storytelling. Her preference for biblical themes is evident in works like Jonah’s Gourd Vine, where a character refers to the Bible as a “hoodoo” book, blending Christian and folk beliefs.

One of Hurston’s early stories, “Sweat,” offers a compelling glimpse into her thoughts before the profound impact of Voodoo took hold. The narrative operates within a Christian framework, reflecting the unaltered Christian cosmology familiar to the poor black community of the American South. Here, Christianity is not just a religion but a lens through which the struggles and resilience of the community are viewed, imbued with the rich traditions of their ancestral heritage.

In Zora Neale Hurston’s story “Sweat,” the theme of extreme love and hate within a black family transforms into a grand, cosmic battle between the forces of good and evil, represented by God and Satan. The narrative conveys a powerful moral underpinning through the character of Delia, who articulates a belief in divine justice: “Whatever goes over the Devil’s back, is got to come under his belly. Sometime or ruther, Sykes, like everybody else, is gointer reap his sowing.” This steadfast faith in a higher providence, promising the eventual triumph of good over evil, serves as a sanctuary for those who endure nothing but suffering in their earthly lives.

In the narrative landscape of this fictional realm, Sykes emerges as a defiant figure, embodying a rebellion against the core tenets of Christian ethics. His actions and attitudes starkly oppose the principles of love and compassion, leading to the hardening of his soul. Sykes is depicted as a proud, vengeful individual, one who is metaphorically damned due to his inability to recognize and appreciate goodness in others. His self-aggrandizement is akin to a god-like arrogance, an ironic assertion of his perceived power. He boldly declares, “Ah aint got tuh do nothin’ but die,” which underscores his dismissal of earthly responsibilities and his disdain for accountability. Further illustrating his sense of dominance, he boasts to Bertha, asserting, “this was his town and she could have it if she wanted it.” Through these proclamations, Sykes elevates himself above others, defying the moral fabric of his community.

The narrative delineates a clear moral compass for the audience, guiding their sympathies towards Delia, who exemplifies the virtues that are cherished in the Christian tradition. Sykes, in stark contrast, represents the antithesis of righteousness, consistently embodying wrong throughout the story. Meanwhile, Delia's steadfast adherence to Christian values such as love, tolerance, and humility underscores her moral superiority.

Moreover, Delia embodies the virtues synonymous with the American ethos of hard work, encapsulated in her unwavering dedication and "sweat." Her labor is not just a means of survival but a manifestation of her moral fortitude. As the story unfolds, her predictions of poetic justice come to fruition, affirming the belief that God remains vigilant and rewards the faithful. This narrative arc reinforces the idea that adherence to virtuous principles ultimately leads to a triumphant affirmation of divine justice.

The story's conclusion resists being neatly confined to a purely Christian interpretation. While the narrative structure flirts with challenging the Christian order, it ultimately stops short. The character who toyed with danger and openly defied Christian morals is not portrayed as a hero or a mystical figure belonging to an alternative cultural order; instead, he is depicted as the antagonist. Zora Neale Hurston does not allow Christian tenets to shape the psychological landscape of her protagonist, Delia. As the story unfolds, Delia finally musters the courage to stand up to her abusive husband, Sykes, reciprocating the derogatory names he has hurled at her and ultimately absolving herself of any obligation towards him.

In the climax, when Sykes lies dying from a snake bite, Delia experiences a moment of compassion but decides against intervening to save him. This choice could be interpreted as aligning with Christian eschatology if one considers Sykes as the epitome of evil. However, it also serves as a narrative of human and feminine retribution. Delia's inaction is not merely passive but active in its refusal to prevent his demise. She consciously chooses this path, bearing the weight of knowing that Sykes recognizes her deliberate choice not to save him. The story, through Delia's defiance and complex emotions, subtly critiques yet does not wholly dismantle the Christian moral framework, leaving readers to ponder both the boundaries and intersections of faith, justice, and personal agency.

“Sweat” provides a compelling examination of Christianity's influence on the black psyche, particularly how it evolves under psychological duress. The narrative delves into the socio-economic consequences of a racially divided society while intriguingly rendering white characters almost invisible. Within the story, black individuals confront one another, with whites lingering only as a distant threat, mentioned fleetingly in Delia's threat to seek their intervention if her husband Sykes abuses her again.

This narrative choice subtly critiques the societal dynamics and anticipates novelistic trends that would emerge decades later in the works of Alice Walker and Toni Morrison. By centering the story on black culture and allowing it to express its own complexities, Hurston effectively sidelines the white perspective. In doing so, she affirms the richness of black cultural identity, presenting it as self-sufficient and potent in its own right.

Furthermore, by prioritizing female consciousness over traditional male dominance, Hurston offers a nuanced critique of Christian tradition. This approach not only highlights the resilience and agency of her female protagonist but also suggests a transformative view of Christian values, one that adapts to and reflects the lived experiences of black women. In "Sweat," Hurston thus creates a narrative space where black identity and female empowerment are woven together, challenging mainstream narratives and redefining cultural significance.