It is difficult in such a crowded atmosphere as the Younger household for one person to be singled out and heard. The Youngers do not mean to ignore Walter Lee and are not totally aware that they are doing so. They are simply caught up in the excitement of the moment — the receipt of the check.
The original production of this play, as well as the original movie screenplay, does not contain the incident involving Travis' chasing a huge rat while he is downstairs playing with his friends in the street. The scene is included in the PBS presentation, however. Hansberry wrote the "rat scene" to dramatically point out the graphic terrors that daily confront the children of the poor and also to show that these children must learn to incorporate such horrific realities into their playtime activities.
A dresser, in contrast, is a short piece of bedroom furniture that has drawer space, a large mirror, and a small stool or chair where one might sit in order to put on makeup. The bureau is the taller piece of bedroom furniture, containing only drawer space for clothing. Objects placed on top of the bureau often landed behind it, which, because of its size and weight, was often a difficult piece of furniture to move. Hay-lo Beneatha answers the telephone with this greeting, a combination of "Hey" and "Hello.
Nigeria The most populated nation in Africa with more than different ethnic groups. The four major groups are the Hausa and Falani people in the north, the Yoruba people in the southwest, and the Ibo people in the southeast. Nigeria was ruled by the Portuguese at the end of the fifteenth century, followed by the Dutch, the Danes, the Spaniards, and the Swedes.
At the beginning of the eighteenth century, the British gained control over the slave trade there. Nigeria finally became independent and a member of the British Commonwealth of Nations, and, in , it became a republic. Open hostility, however, between the numerous rival factions within the country bred chaos, with several attempts to overthrow the government, civil war, and finally mass starvation.
Despite its harrowing past, Nigeria has become a leader in literature, art, music, and craftsmanship. They need more salvation from the British and the French Beneatha says this to Mama as she attempts to "educate" her mother to what Beneatha feels are political realities. She knows that Mama believes in giving money to her church for the missionary work, but the Africans, she says, "need more salvation from the British and the French," who were the dominant colonial rulers at that time.
We've all got acute ghetto-itis Beneatha says this when Asagai drops by to visit, immediately after the Younger family has had a depressing conversation about their financial station in life and Ruth's possible pregnancy.
Beneatha refers to the "ghetto" in which they live as though it brings with it a disease that she calls "ghetto-iris. Asagai, I am looking for my identity Asagai repeats Beneatha's words to her, poking fun at her desperation to connect with her African heritage. Beneatha made this statement to Asagai when they first met, a remark he had found amusing. One for Whom Bread — Food — Is Not Enough Asagai gives Beneatha the Nigerian name "Alaiyo," which he translates roughly as: "One for whom bread — food — is not enough," meaning that his perception of Beneatha is that she is a totally developed person, both intellectually and spiritually, and that she demands answers to all of life's questions.
Merely going through the motions of life is not enough for a person like Beneatha; she has to question every philosophy for herself. She feels she needs to buy the house to hold the family together. Ruth rejoices, but Walter feels betrayed, his dream swept under the table. Walter makes Mama feel guilty, saying that she has crushed his dream. He goes quickly to his bedroom, and Mama remains sitting and worrying. The dancing scene with Beneatha and Walter is difficult to interpret, as the drunken Walter seems to mock the African dances and practices, while Beneatha seems not to comprehend this mocking.
This desire to join white culture, referred to as assimilationism, was a contentious issue for the Black community in the s and s.
This scene separates George and Asagai into completely different categories where George, as his common name suggests, represents a Black person assimilating into the white world, while Asagai, with his ethnically rich name, stands for the New Africanist culture that those who oppose assimilation pursue.
As Beneatha dances in a robe that Asagai gives her, George deems her interest in her African roots absurd. His comments put him further at odds with Beneatha, and she begins to feel more of an affinity with Asagai and her African roots than with George and what she considers to be his false roots in American society. Their entrapment in the ghetto, in their jobs, and in their apartment results in the desire to leave physically, to escape mentally through alcohol, and to lash out at those involved in the entrapment.
One way for them to escape this entrapment, though, seems to be through a reliance on each other. Yet, often, circumstances are so difficult for them that they cannot even do that. Her dream is a perfect example of the quintessential American dream. Part of her dream is the simple desire for consumer goods.
She believes, as did many in the post—World War II consumer culture, that, to some degree at least, ownership can provide happiness.
Mama compares her plant to her children. How are the plant and t he children alike? What does the plant symbolize to Mama? What does Mama ask Ruth to do at the end of this scene? What happens to Ruth? Act I, Scene II. When does Scene II begin? What are Mama and Beneatha doing as this scene begins? What is Walter doing? Who does Beneatha invite to the apartment? How does she tell Mama to act around this person? What is revealed about Ruth and where she has been?
What is she thinking about doing, and why might she be considering such a thing? Asagai arrives, bringing gifts for Beneatha. What are the gifts? What does Asagai represent to Beneatha? What does Asagai say and do to encourage Beneatha's search for her identity? Soon after Asagai leaves, the mail carrier delivers the insurance check. How much is the check worth? Why does Mama's expression become sober and then unhappy when she holds the check?
Walter rushes in demanding to know whether the check has arrived. How does he show his insensitivity to the situation at home? How do Walter's and Mama's views of the meaning of life conflict? How does Mama try to influence Walter at the end of the scene? What does she reveal to him?
Act II, Scene I. When does Act II begin? What is Beneatha doing as the first scene opens? What is she wearing? Why does Walter join her in the dance? How does the arrival of George Murchison change the mood of the scene?
Beneatha calls George an "assimilationist. What is Walter's attitude toward George? What is George's attitude toward Walter? Who is Prometheus, and why does George call Walter by that name? How does Ruth try to ease Walter's mood? What evidence is there that Walter and Ruth still love each other, despite their problems?
What news does Mama break to the family in this scene? How do Ruth and Walter react to Mama's news? What does Walter accuse Mama of? In what condition is the apartment when Beneatha arrives home from a date with George? What sort of woman does George say he wants Beneatha to be? And why doesn't George want to listen to Beneatha's ideas?
When Beneatha asks George why he goes to college, what is his reply? After George leaves, Mama asks Beneatha if she had a good time on her date.
0コメント