Alienation and Loneliness
Jo experiences a deep sense of abandonment from her mother, Helen. This has been a persistent problem throughout her life, but it becomes intolerable when Helen moves them to a new apartment right before Christmas, only to quickly leave with her boyfriend. Jo's overwhelming loneliness leads to her becoming pregnant. After Helen leaves with Peter, Jo is left in tears.
In search of solace, Jo invites a young black man, who professes his love for her, to stay over for the Christmas holidays. Previously, Jo had been reluctant to engage in any intimacy with him, knowing he was soon to leave on a six-month naval assignment. However, when he returns to her apartment, Jo, consumed by loneliness, lets go of her future work plans and her reservations.
Duty and Responsibility
Helen is expected to take care of her daughter, yet she neglects this duty and avoids her maternal role. She is always eager to leave with a man, disregarding how this affects Jo. As the play progresses, it becomes clear that this behavior has been a constant in Jo's life. Helen has never considered her daughter's emotions or taken responsibility for her well-being. Jo is left to manage on her own, a situation she seems to have handled for quite some time before the play starts. Helen thinks so little of Jo that she doesn't even tell her romantic partners about her daughter's existence. As a result, Jo grows up without a mother figure. This becomes a major issue in the final act when Jo faces her own impending motherhood and struggles with her ambivalence about having a child. There is significant evidence suggesting that Jo might continue the cycle of neglect that Helen started.
Friendship
Geof proves his worth as a friend by consistently supporting Jo. As her only companion, he moves in with her when she desperately needs help. Jo, who doesn’t want to be seen by anyone, is unable to work and thus lacks money for rent and food. After being evicted for his homosexuality, Geof accepts Jo's invitation to sleep on her couch. He becomes Jo's sole friend, taking on the responsibilities of paying rent, buying groceries, and cooking meals. Geof's friendship goes so far as to attempt to reconcile Jo with her mother, although he misjudges Helen's self-centered nature. He is the only person who gives Jo unconditional love. Geof offers her a loyal and generous friendship, something Jo has never experienced and is unsure how to receive.
Mother and Daughter Relationship
A central theme in this play is the complex relationship between mother and daughter. For Helen and Jo, a traditional parent-child connection is missing. Helen does not act as a nurturing or caring mother, while Jo lacks the typical respect and obedience expected from a child. Significantly, Jo refrains from calling Helen "mother," opting instead to use her first name, "Helen," as a form of disrespect.
Helen often hides the fact that she has a daughter, possibly to maintain an illusion of youth. Whenever a better opportunity comes along, usually involving a wealthy man, Helen frequently leaves Jo alone. Jo's behavior clearly reflects her urgent need for a maternal presence. In terms of care and support, Geof is the closest person Jo has to a parental figure.
Pride
Jo's pride is so intense that she refuses to leave her apartment once her pregnancy becomes noticeable. She must be aware of the neighborhood gossip, yet she chooses to disregard it. By staying confined to her flat, she is unable to work, leaving her with no way to support herself. Helen also demonstrates pride; she is willing to push her illegitimate grandchild in...
(This entire section contains 220 words.)
Unlock this Study Guide Now
Start your 48-hour free trial and get ahead in class. Boost your grades with access to expert answers and top-tier study guides. Thousands of students are already mastering their assignments—don't miss out. Cancel anytime.
Already a member? Log in here.
a pram down the street, but when she discovers the child is black, her pride stops her from being seen with the baby. Jo's pregnancy by a black man is more about class than race. Despite being poor and working-class, Helen considers the child's father below their social standing. As a result, Helen rejects Jo’s unborn child, even suggesting drastic measures like giving it away or drowning it, rather than being associated with it.
Helen's misplaced pride allowed her to remain in a relationship with a man who belittled, humiliated, and eventually abandoned her. Yet, this same pride leads her to reject her own grandchild, whom she considers unworthy. The pride depicted in A Taste of Honey is not the kind that empowers characters to overcome obstacles. Instead, the misguided dignity that Jo and Helen display keeps them trapped in their cycle of despair. Their distorted standards blind them to the possibility of escaping their situation.
Poverty and Squalor
The stark realities of poverty and its accompanying squalor are vividly depicted in "A Taste of Honey," particularly through the exchanges between characters like Jo and Geof. "This place stinks," Jo remarks in Act 2, highlighting not just the physical decay around her but also the neglect pervading their environment. The river, a dull "colour of lead," alongside "dirty" washing and "filthy children," paints a vivid picture of despair that sets the tone for the entire play. This imagery acts as both a mood setter and a constant reminder to the audience of the harsh conditions enveloping the characters' lives.
The narrative protests not merely against the visible symptoms of poverty—such as substandard housing and limited educational opportunities—but also against the deeper systemic issues. Jo’s frustration is palpable as she bemoans the disruption caused by frequent school changes, a result of her mother's incessant relocations. The play effectively underscores the chasm between the dreams people dare to dream and the grim reality they face.
Beneath the play's surface, with its sharp and quick-witted dialogue, lies a longing for genuine connections. There is a wistful desire for honesty and affection, starkly contrasting with a world where everything, even love, has a price, as evidenced in Helen's detached perspective on relationships. This underlying yearning is what gives the play its enduring poignance, reflecting a deep-seated human desire for more meaningful and affectionate bonds amidst the pervasive commodification of life’s most intimate aspects.
Transition to Adulthood
The play delves into the intimate journey of a young girl navigating the tumultuous transition from adolescence to adulthood. At this pivotal stage, she finds herself caught between the desire to embrace maturity and the apprehension of its impending obligations, especially the prospect of motherhood. Her exploration of relationships reveals the distinct faces of love she encounters: with The Boy, she experiences the passionate complexities of sexual and romantic love, a thrilling yet daunting affair. In her bond with Geof, she discovers the comforting stability of familial affection, akin to a brotherly and sisterly dynamic, offering a sense of camaraderie and support often missing in her life.
Yet, the most elusive and hauntingly absent is maternal love, a void left by her own mother's neglect. This absence becomes a source of inner turmoil as she grapples with the challenge of nurturing the child she is carrying, a profound responsibility she feels ill-prepared to shoulder. Through these relationships, the play poignantly portrays her struggle between yearning for the warmth of love and grappling with the realities of adult responsibility, painting a vivid picture of the complexities inherent in growing up.
Illusions and Reality
Jo navigates her understanding of The Boy through the lens of her own fantasy world, imbuing him with a mystical quality and the romantic moniker, "Prince Ossini." This reflects a young girl's idealistic view of romance, filled with dreams and illusions. However, as the story progresses and reality begins to impose on her romantic fantasies, Jo's perception shifts. In the culminating scene, stripped of many of her illusions, she nonchalantly refers to him simply as "Jimmie." This transition marks a significant moment where Jo's dreams begin to dissolve, exposing the stark contrast between her imagined world and her reality.
Outsiders and Acceptance
The narrative unfolds through the lens of two pivotal characters who navigate the challenges of being outsiders in a conformist society. The Boy, ostracized due to his race, and Geof, whose homosexuality is subtly implied, both share a bond with the protagonist that transcends societal norms. Their presence in her life symbolizes the fleeting sweetness of a momentary reprieve from societal constraints. This "taste of honey" she savors is indicative of the brief interlude of liberty that a working-class woman experiences between the structured chapters of school and marriage. This period, albeit short-lived, offers a glimpse of personal freedom and genuine connection amid the rigid expectations of her social milieu.
