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Nelson Chang (Period 2)
Cindy Wang (Period 2)
Tiffany Ip (Period 3)
Clark Chen (Period 5)
Raisin in the Sun Group 6
Character: Beneatha Younger
Beneatha Younger, the younger sister of Walter Younger, is twenty years old with thick
hair on her head. Although she is not as pretty as Ruth, her sister-in-law, she has a face that
“has a handsomeness of its own” (Diyanni 1462). Her choice of dress is conspicuously
modern. However, she is interested in wearing the traditional Nigerian clothing, given to her
by Asagai. In contrast to the rest of her family, she has an educated speech; however, there
is still some trace of Southern influences as since she has a “transformed use of vowels”
(Diyanni 1462). At different points in the story, Walter says, “You a horrible-looking chick at
this hour” (Diyanni 1877), Ruth says “He and Bennie was at it again” (Diyanni 1879), and
Lena says “My children and they tempers” (Diyanni 1879). This shows a contrast in
Beneatha’s language to that of her family’s. Her name Beneatha also suggests her
personality. It shows how she considers everyone to be beneath her.
Also, Beneatha has an affinity for trying new things and activities. For example, at the
beginning of the play, she walks out to attend guitar lessons, but Ruth and Lena mention
that before, she had joined a “play-acting group” (Diyanni 1468) and the year before that,
she had bought a riding helmet to go horseback riding. When Lena and Ruth criticize her, she
exclaims indignantly “I don’t flit! I – I experiment with different forms of expression…people
have to express themselves one way or another” (Diyanni 1469). Therefore, it shows that
she has an attraction for life. Also, Beneatha assumes that life is a circle and that it will
constantly repeat itself.
The relationship between Beneatha and Ruth is one of contrast. Ruth is more mature
and realistic than the younger woman. Also, Beneatha is more modern than her sister-in-law.
She cares about the things of the world while Ruth thinks more about the house. Also, Ruth
treats Beneatha as a young child. She calls her a “little girl” (Diyanni 1471) and also refers to
her as “Bennie.” Therefore, this shows that Beneatha is occasionally treated as a young child
by her family, and not only Ruth.
There is also much to see by the way Beneatha interacts with her older brother, Walter.
At the beginning of the play, the initial relationship between Walter and Beneatha is
antagonistic. Walter states that Beneatha walks around “acting holy” (Diyanni 1878). This
negative relationship only escalates in Act III when the family discovers that the money has
been lost. Beneatha yells at Walter, stating that “he’s no brother of [hers]” (Diyanni 1518).
When Lena chides her daughter, telling her that she should love her brother, Beneatha
retorts, “Love him? There is nothing left to love” (Diyanni 1518). However, once the family
realizes that they will move, they fall back into a familiar pattern. The bickering that ensues
is similar to that of the beginning of the play.
Beneath does not share many of the opinions as her family members. For example, she
values money in a different way from her family. While her family members view money as
an important aspect of life, thinking that “money is life” (Diyanni 1481), Beneatha believes
that other things are more important. When Walter becomes so excited about the insurance
money that he believes will be theirs, Beneatha tells him that it is not theirs. The money
belongs to their mother. She states “I don’t care if she wants to buy a house or a rocket ship
or just nail it up somewhere and look at it. It’s hers. Not ours – hers” (Diyanni 1463).
However, we see in the end that she changes as she says, “[the money] belonged to all of us.”
In the case of George Murchison, Walter, Ruth, and even Lena believe that she should marry
this man because of his wealth (Lena later changes her mind and supports her daughter’s
viewpoint). However, Beneatha calls him shallow, believing that he and his family are
“snobbish” (Diyanni 1470). This shows that she values her feelings and ideals over money
and wealth, which is one of the reasons why she is attracted to Asagai.
Also unlike many other people that she comes into contact with, Beneatha believes that
education serves to help her think. However while having a conversation with George, we
learn that he believes that education is only to get a degree. “[People] read books – to learn
facts – to get grades – to pass the course – to get a degree” (Diyanni 1493). For Beneatha,
education is for thinking and developing one’s individuality; however, George believes that it
is for money and success.
Throughout the story, Beneatha always wants to become a doctor. Even though
members of her family, particularly her brother Walter, do not approve of her career goal,
she still aspires to follow her dream. She believes that “truly being God” meant “[fixing
someone] up – [sewing] up the problem, [making] him all right again. That was the most
marvelous thing in the world” (Diyanni 1512). However, later, her dream is put on hold by
the discovery that Walter had lost the money. At this point, she says “No- I wanted to cure. It
used to be so important to me. I wanted to cure. It used to matter. I used to care. I mean
about people and how their bodies hurt” (Diyanni 1512). In the end, Asagai asks her to move
to Africa with him to become a doctor.
She also believes that she has the right to choose her own life, retorting to Walter,
“What have you got to do with who I marry?” (Diyanni 1520). However, even though she
says this, this is ironic because there is male dominance in Beneatha’s life. She acts
differently with each of the males in her life. For example, she will argue with Walter and call
George a snob, but when Asagai calls her Alaiyo, meaning “One for Whom Bread – Food Is
Not Enough” (Diyanni 1477), she accepts it. Also, although she looks up to Asagai, when
George tells her that the Nigerian clothing and her hair don’t look good, she changes into a
modern cocktail dress and earrings.
Also, Beneatha has differing views of religion than her family, particularly her mother.
She states that she is “tired of hearing about God all the time” because he doesn’t do
anything for her. After all, he does not “pay tuition” (Diyanni 1470). However, even though
she is somewhat of a free spirit, resolutely stating that “God is just one idea [she doesn’t]
accept” (Diyanni 1470), she still listens to her mother when commanded. When Lena states
that she must repeat “in my mother’s house there is still God” (Diyanni 1470), Beneatha,
albeit somewhat reluctantly, repeats the statement. This shows that Beneatha is still under
the control of her mother. However, even though they have differing views on many topics,
Lena is still supportive of Beneatha, and Beneatha is still respectful. Lena tries to stand
behind Beneatha’s beliefs, as when she talks to Asagai about how “American Negroes don’t
know nothing about Africa ‘cept Tarzan” and how the money should be going to African to
“drive out…[the] French and Englishmen” (Diyanni 1476) from the country. This is shown
when Beneatha says, “Thank you…For understanding me this time” (pg1494).
Lastly, we can see much of Beneatha’s character through her relationship with Mrs.
Johnson, their nosy neighbor. Mrs. Johnson thinks Beneatha is impolite, proud, and rude, as
seen from the quote: “I know – but sometimes she act like ain’t got time to pass the time of
day with nobody ain’t been to college…’Course I can understand how she must be proud and
everything – being the only one in the family to make something of herself” (Diyanni 1496).
Beneatha’s own attitude toward Mrs. Johnson is also negative. She states, “Mama, if there
are two things we, as a people, have got to overcome, one is the Klu Klux Klan – and the
other is Mrs. Johnson” (Diyanni 1497). The obstacle before was the Klu Klux Klan, however,
the obstacle now is people like Mrs. Johnson who look down upon others.
QUOTES
BENEATHA (her face in her hands. She is still fighting the urge to go back to bed): Really –
would you suggest dawn? Where’s the paper? (Diyanni 1462)
This begins the bickering between Walter and Beneatha. This is the initial indication that
Beneatha asserts her independence as she turn’s Walter’s comment into a “slippery slope.”
Walter’s comment “You should get up earlier” is refuted with “Would you suggest dawn?”
BENEATHA (in the same spirit): Lovely. Lovely. And you know, biology is the greatest.
(Looking up at him) I dissected something that looked just like you yesterday. (Diyanni 1462)
“You” refers to Walter. This alludes to Beneatha’s goal in education. At this point in the play,
we do not yet know that she is training to become a doctor. However, through this comment,
we see that she is participating in higher-education classes.
BENEATHA (gaining in sharpness and impatience): And what did I answer yesterday
morning – and the day before that? (Diyanni 1463)
Her tone suggests that this is an argument that has been going on for some time. She is
obviously tired of the opposition that she faces.
BENEATHA (dropping to her knees): Well – I do – all right? – thank everybody! And forgive
me for ever wanting to be anything at all! (Pursuing him on her knees across the floor)
FORGIVE ME, FORGIVE ME, FORGIVE ME! (Diyanni 1463)
This is in response to Walter’s comment that implies that she should “get on [her] knees and
say thank you.” By dropping on her knees and emphasizing each word, this shows how she
expresses herself verbally and physically in an overly dramatic way.
BENEATHA: So what? He was mine, too – and Travis’ grandfather – but the insurance money
belongs to Mama. Picking on me is not going to make her give it to you to invest in any
liquor stores – (Under breath, dropping into a chair) – and I for one say, God bless Mama for
that! (Diyanni 1464)
Beneatha defends herself. Unlike a “typical woman” in that time period, she is very
straightforward and blunt. This also shows her view of money as she believes the “insurance
money belongs to Mama.” Through her use of “God bless Mama,” this shows how she is still
tied to the family’s belief in God.
BENEATHA: You – you are a nut. Thee is mad, boy. (Diyanni 1464)
She is demeaning Walter by calling him “boy.” This shows that the relationship between the
two characters is antagonistic. By using the word “thee,” she tries to sound superior to her
brother. This is also a reference to the biblical foundation upon which her family is built on.
BENEATHA: What could be so dirty on that woman’s rugs that she has to vacuum them every
single day? (Diyanni 1468)
She doesn’t see the need to cover them up. Her attitude toward cleaning also indicates how
she does not believe that a woman’s place is in the house.
BENEATHA (sharply): I just want to learn to play the guitar. Is there anything wrong with that?
(Diyanni 1468)
Beneatha is liberal in her time period. It asserts her independence as she says “is there
anything wrong with that.” She stands up for her beliefs and for herself. She does not feel as
though there is anything wrong with her actions.
BENEATHA (angrily): Me! Don’t worry – I don’t expect you to understand. (Diyanni 1469)
This quote shows her differences from other people. She is more educated than those in her
family and she does not hide it.
BENEATHA: You wouldn’t even begin to understand. Anybody who married Walter could not
possibly understand. (Diyanni 1469)
This is insulting toward Ruth. As she says “anybody who married Walter” this is just another
indication of the relationship between Beneatha and Walter. She looks down on her brother.
BENEATHA (wearily): Oh, I just mean I couldn’t ever really be serious about George. He’s –
he’s so shallow.” (Diyanni 1469)
This shows her values. She doesn’t believe in people who look for qualities only skin deep.
When Ruth states that he is rich, Beneatha is indifferent toward this information.
BENEATHA: Oh, Mama – The Murchisons are honest-to-God-real-live-rich colored people,
and the only people in the world who are more snobbish than rich white people are rich
colored people. I thought everybody knew that. I’ve met Mrs. Murchison. She’s a scene!
(Diyanni 1470)
This is her view of money. After she pauses after “Oh, Mama,” this shows her exasperation
toward her mother because she does not understand why Beneatha cannot stand George.
Her pauses emphasize her point. This is rhetorical effect.
BENEATHA: Get over it? What are you talking about, Ruth? Listen, I’m going to be a doctor.
I’m not worried about who I’m going to marry yet – if I ever get married.” (Diyanni 1470)
Her statement “I’m going to be a doctor” shows her determination to follow her dream. Her
quote “if I ever get married” asserts her independence. She believes that she will never have
to be tied down to a man.
BENEATHA: “Mama, you don’t understand. It’s all a matter of ideas, and God is just one idea
I don’t accept.” (Diyanni 1470)
Her views on God show how to her, God is not real, but rather, He is just an idea. This shows
her break from society.
BENEATHA: “Yes, ma’am.” (Diyanni 1471)
There is a change in her speech. Rather than referring to her mother as “Mama,” she calls
her “ma’am.” This shows how she has been subdued by her mother’s command to repeat
her belief.
BENEATHA: I see. (Quietly) I also see that everybody thinks it’s all right for Mama to be a
tyrant. But all the tyranny in the world will never put a God in the heavens! (Diyanni 1471)
The last sentence shows her stubbornness as she is unwilling to believe that she might be
wrong. “All the tyranny in the world” refers to Mama, and she says that no matter how much
Mama may enforce the idea upon her, she will not accept it for herself.
BENEATHA: Brother, where did Ruth go? (Diyanni 1472)
This is the first time in the play that Beneatha addresses Walter in a non-antagonistic tone.
She shows concern for Ruth.
BENEATHA: Set fire to this building! (Diyanni 1472)
This is sarcastic and dramatic speech. This also shows how much Beneatha is tired of living in
the same, old apartment.
BENEATHA: Asagai, Joseph. Ah-sah-guy…He’s from Nigeria. (Diyanni 1473)
This shows how she has to be explicit in all that she says. Also, she puts special emphasis on
the fact that he is from Nigeria. This shows how she takes pride in knowing someone from
out of the country.
BENEATHA: No, Mama – that’s Liberia. (Diyanni 1473)
This comment is demeaning toward her mother. She looks down upon her mother and other
family members who are not educated.
BENEATHA: Well, do me a favor and don’t ask him a whole lot of ignorant questions about
Africans. I mean, do they wear clothes and all that – (Diyanni 1473)
This shows how she is somewhat embarrassed by her family. She doesn’t want them to
embarrass her in front of Asagai by asking irrelevant and “ignorant questions.”
BENEATHA: You mean save them from heathenism – (Diyanni 1473)
Beneatha knows how religious Mama is. However, she still does not believe in what Mama
does for the church, by “[giving] money at church for missionary work.”
BENEATHA: You pregnant? (Diyanni 1473)
This shows how Beneatha is blunt in asking her questions. Her mother implies and hints
towards her belief that Ruth may be pregnant, but Beneatha asks the questions straight out.
This indicates the differences between the modern generation and the traditional.
BENEATHA (holding the door open and regarding him with pleasure): Hello…(Long Pause)
Well – come in. And please excuse everything. My mother was very upset about my letting
anyone come here with the place like this. (Diyanni 1474)
The way that she says “my mother” is of a lighthearted tone. She doesn’t take into
consideration her mother’s ideas. However, she is extremely polite toward Asagai, treating
him with more respect compared to her level of respect toward her family members. This
only shows exactly high she holds Asagai.
BENEATHA: Oh, Asagai!...You got them for me!...How beautiful…and the records too!
(Diyanni 1475)
This shows how she is completely won over by Asagai. However, even though she is wooed
by him, she will still stand up for herself. When Asagai comments on her “mutilated hair,”
she states indignantly “It’s not mutilation!” Also, as he is teasing her, she does not laugh
along. She manages to maintain her dignity.
BENEATHA: I know – because that’s what it says in all the novels that men write. But it isn’t.
Go ahead and laugh – but I’m not interested in being someone’s little episode in America
or – (with feminine vengeance) – one of them! That’s funny as hell, huh!” (Diyanni 1476)
This shows how she is not willing to be used. She is assertive and independent, using the
statement “That’s funny as hell.” At that point, such language as this was considered
unacceptable by many people. However, she is breaking away from the original mold created
for women.
ASAGAI: No – really it is difficult…(Thinking) It means…it means One for Whom Bread –
Food – Is Not Enough (He looks at her) Is that all right?
BENEATHA (understanding, softly): Thank you (Diyanni 1477)
This shows how Beneatha is willing to take criticism from Asagai but not from anyone else in
the family. Through this quote from Asagai, it shows how Beneatha is constantly seeking
new information, never content with what she has.
TRAVIS: What’s the matter, girl, you cracking up?
BENEATHA: Shut up. (Diyanni 1477)
This shows how Beneatha is disrespectful even toward the youngest member of the family.
However, this quote also shows the relationship between the two characters. Travis also
does not treat Beneatha with respect, calling her “girl” even though she is his aunt.
GEORGE: What have you done to your head – I mean your hair!
BENEATHA: Nothing – except cut it off (Diyanni 1485)
This reaffirms her independence but influence from Asagai. After he comments on her
“mutilated hair,” she changes her hair to better suit him. Even though George may not
appreciate her ideals, Beneatha does not care much for him. Therefore, in replying to his
comment, she is blunt and indifferent.
BENEATHA: Because I hate assimilationist Negroes! (Diyanni 1485)
This shows how Beneatha does not appreciate those who do not assert their independence
but rather follow the dominant culture. She says this in response to Ruth’s question “why
must you and your brother make an argument out of everything people say?”
BENEATHA: GRASS HUTS! See there…you standing there in your splendid ignorance talking
about people who were the first to smelt iron on the face of the earth! The Ashanti were
performing surgical operations when the English…were still tattooing themselves with blue
dragons! (Diyanni 1485)
This only reaffirms how Beneatha does not agree with the assimilationists. For many years,
the English were considered to be the superior race. However, with this statement, she is
showing how the Africans were a more highly advanced culture while the English were still
developing.
BENEATHA (laughing to herself): I guess I always think things have more emphasis if they are
big, somehow. (Diyanni 1500)
This describes her character. It shows how she likes to exaggerate and overemphasize many
ideas.
BENEATHA (drily): Yes – and what do they do? […] Yes – and what are some of those? […]
This, friends, is the Welcoming Committee! (Diyanni 1502-1504)
Beneatha interjects Mr. Lindner as he tries to explain the “welcoming committee’s” visit in a
roundabout way. She is being blunt and forcing him to explicitly state the reason for his
coming. Also, the last statement is said with a bitter and sarcastic tone in response to Mr.
Lindner’s offer to the family. It embodies her attitude toward the attempt of the white
residents at Clybourne Park to keep the Younger family from moving in. It is only through
this quote that the true purpose of the Welcoming Committee is revealed.
BENEATHA: Oh – Mama – they don’t do it like that anymore. He talked Brotherhood. He said
everybody ought to learn how to sit down and hate each other with good Christian
fellowship. (Diyanni 1505)
This is ironic because in “good Christian fellowship,” people are supposed to love each other
rather than “hate each other.” It also hints toward Beneatha’s character as since she is
making light the situation.
BENEATHA: Mama, you going to take that to the new house? […] That raggedy – old thingy?
(Diyanni 1506)
With the emphasis on the word “that” and by calling it a “raggedy-old thingy,” Beneatha is
not willing to bring something from her old life to her new life. It follows with the extended
metaphor regarding plant which represents their old life and dreams.
BENEATHA (giggling fiercely): Travis – we were trying to make Mama Mrs. Miniver – not
Scarlett O’Hara! (Diyanni 1507)
Here, this is one of the first times that Beneatha is shown having fun and joking around with
her family. She is willing to join in the fun with the family rather than keeping herself in a
position above them. Mrs. Miniver is a strong woman from World War II movie while
Scarlett O’Hara is a sophisticated but more domestic lady.
BENEATHA: He made an investment! With a man even Travis wouldn’t have trusted with his
most worn-our marbles. (Diyanni 1511)
This shows how Beneatha has once again put Walter into a lower position. She is extremely
angry and is looks down upon Walter’s decision. Here, she is despairing over the loss of the
money and in her eyes, her future and education.
BENEATHA: Me?… Me?… Me, I’m nothing…Me. (Diyanni 1511)
This shows how she thinks she has lost everything. Her dreams to become a doctor were her
future. However, after the loss of the money, she feels as though she cannot achieve her
dream. Through the repetition of the word “me,” her despair is evident.
BENEATHA: Asagai, while I was sleeping in that bed in there, people went out and took the
future right out of my hand! And nobody asked me, nobody consulted me – they just went
out and changed my life! (Diyanni 1512)
This is the first time that she has stated that her life is in the hands of others. Throughout
the entire play, she has asserted her independence; however, here we see that she too was
dependent upon the money. Beneatha’s tone in this quote is frustrated and angry. She has
always been one to take her future into her own hands, but with this one action of Walter’s,
everything has turned upside down for her.
BENEATHA (bitterly): Because it doesn’t seem deep enough, close enough to what ails
mankind! It was a child’s way of seeing things – or an idealist’s. (Diyanni 1512)
Here, she admits that she is an idealist. It also shows how she believes that just because she
cares, it is not enough to save mankind.
ASAGAI: Where are we all going and why are we bothering!
BENEATHA: AND YOU CANNOT ANSWER IT! (Diyanni 1513)
Asagai has said that because the money was lost, Beneatha has given up her dreams. She
wants to find the answer to the question, but even Asagai cannot answer it.
BENEATHA: The martyr! (Diyanni 1513)
This is in response to Asagai’s quote “and perhaps for it I will be butchered in my bed some
night by the servants of empire…” This quote is italicized for emphasis because Beneatha
believes that one should be ready to die for their beliefs. Therefore, through this, she is
saying it almost reverently.
BENEATHA: Bad? Say anything bad to him? No – I told him he was a sweet boy and full of
dreams and everything is strictly peachy keen, as the ofay kids say!” (Diyanni 1514)
Beneatha is sarcastic as she talks to Ruth about Walter. This shows how once again she is
looking down upon Walter.
BENEATHA: Oh, God! Where is the bottom! Where is the real honest-to-God bottom so he
can’t go any farther! […] I said that that individual in that room is no brother of mine.
(Diyanni 1516 - 1518)
Walter has just announced that he has called Mr. Lindner to “talk business.” Beneatha is
extremely angry at Walter. Now that the family has realized Walter’s plans, everyone has lost
their hope because the money was the key to their dreams. She refers to Walter as “that
individual” because it shows that she has lost respect toward her brother.
BENEATHA: Well – we are dead now. All the talk about dreams and sunlight that does on in
this house. It’s all dead now. (Diyanni 1517)
Now that all the money is gone, their dreams are gone. This is just her way of showing
despair.
BENEATHA: George Murchison! I wouldn’t marry him if he was Adam and I was Eve! (Diyanni
1520)
This shows Beneatha’s determination to marry someone with the same values as she. By
comparing George to Adam and herself to Eve, she states that even if they were the only
people on earth, she would not marry George because he is too “shallow.”
Criticism: Biographical
Lorraine Hansberry, an African American writer, was born on May 19, 1930 in the
Southside of Chicago. Growing up, Hansberry received a good education, attending
predominantly white public schools. Her other three siblings were also educated.
Hansberry’s mother was the daughter of a minister. All of Hansberry’s family members were
politically active. Both of her parents were activists; her father participated in the Republican
Party while her mother supported W.E.B. Dubois. Her brother joined the army during World
War II. Her sister married a rich journalist and both were activist for civil rights.
Her family was involved in the Hansberry vs. Lee court case, regarding their move to a
white neighborhood. When she was eight, the family moved into a predominantly white
neighborhood. Although they were faced with much hostility, the family refused to move. It
was not until a court ordered them to move out that they brought the case to the Supreme
Court. Ultimately, the decision was ruled in their favor, and the family returned to the
neighborhood. However, they still faced discrimination.
A Raisin in the Sun is based upon Hansberry’s personal experiences. It portrays her
family’s initial journey from a colored neighborhood to a predominantly white area. The play
is set in the city of Chicago, the same city that she grew up in. Both in her life and in the
story, the family is intimidated by the white citizens of the neighborhood. In the story, Mr.
Linder is the representative from the “Clybourne Park Improvement Association” (Diyanni
1502). He pays the family a visit and offers them money in order to maintain the happiness
of the neighborhood. There is also a similarity between Hansberry’s mother and Lena.
Hansberry’s mother is the daughter of a minister, and Lena is religious. The character of
Travis, the young son of Ruth and Walter, mirrors the innocence of Hansberry’s childhood.
In her life, Hansberry met Langston Hughes. His poem “Dream Deferred” is the theme
of Lorraine Hansberry’s play. The title “A Raisin in the Sun” was taken from a line in the
poem. The metaphor in the poem is expressed throughout the play. The overall tone of both
the poem and the play embody the universal theme that in life, there will be two pathways:
one to follow the wishes of society and one to follow one’s own dreams and aspirations.
Here, we see that the Younger family chooses to defy the wishes of the white community
and move into Clybourne Park. From the beginning, Lena’s dream had been to move out of
the small apartment into a bigger house. To give into the “welcoming committee’s” wishes
would be to give up their dreams and conform to society.
(Wikipedia)
Criticism: Feminism
This play takes place before the second wave of women’s rights. Therefore, there is still
no women’s suffrage and they are still fighting for their rights. Beneatha is one of the few
women who have a college education. Ruth and Lena both work in domestic areas. Ruth is a
housekeeper for another family while Lena takes cares of jobs around the apartment. They
do not have highly accomplished jobs. However, Beneatha, in contrast to her family, aspires
to become a doctor. Her brother Walter looks down upon her choice of profession. George
also shares this view. Beneatha states that George “still thinks [her being a doctor is] pretty
funny.” This shows the view of the time that many men believed that a woman’s place was
inferior to men. Women were supposed to help the men fulfill their dreams rather than tear
them down. Walter states, “A man needs a woman to back him up” (Diyanni 1361).
“However, when Walter feels as though Ruth does not appreciate his efforts, he cries, “This
is just what is wrong with the colored woman in this world.” He feels as though they “don’t
understand about building their men up,” that they are “women with small minds.” Also,
according to him, when a man says “I got me a dream,” his woman merely replies, “Eat your
eggs” (Diyanni 1461). However, when Walter asks why Ruth is always trying to “give [him]
something to eat,” she replies with “what else can I give you?” Even though men complain
that their women do not support them, in truth, women at the time had nothing to give. The
only thing they had was their ability and position in the kitchen. This shows that as men
venture out to make their own businesses, as Walter strongly desires to invest in a liquor
store, women are “supposed to” confine themselves to domestic activities. Men want to be
their own selves while women are supposed to adhere to the wishes of men. However, this
view is slowly changing through the character of Beneatha.
In this play, Beneatha embodies the view that women are beginning to assert their
independence during this time. At one point, Beneatha pulls out a cigarette. At this time in
history, smoking was considered a radical activity for women. Also, Beneatha makes a drastic
statement in saying “if I ever get married.” Women were supposed to be dependent upon
men and marriage was an important part of their lives. However, Beneatha is showing how
she does not want to be tied to a subordinate position through marriage. Women were just
beginning to see that they could live their own lives without having to depend upon a
husband to support them. Even Beneatha’s dreams to become a doctor express the growing
independence of women. This shows how they are beginning to step away from the mold
that men have put around them.
As Beneatha talks to Asagai, Asagai believes that women only need the feeling between
men and women. However, Beneatha states that it is “all [in] the novels that men write.”
Therefore, it shows how men write their views regarding women. In novels, women hold the
subordinate positions. However, Beneatha disagrees with this view. She states that she is
“not interested in being someone’s little episode in America.” This establishes her
independence and break from the subordinate position given to her. However, Asagai states
that he hears the same indignation from “every American girl” and notices that “the world’s
most liberated women are not liberated at all” because they “talk about it too much.”
George also has a subordinate view of women. He tells Beneatha to “drop the Garbo routine,”
(Diyanni 1493) which alludes to Greta Garbo. He wants her to conform to his image of a
woman. He believes that being a “nice-looking girl” Is all a girl needs. His statement that
guys are “going to go for what they see” also shows the view of men at the time. Men didn’t
want a smart girl. Rather, they preferred someone who would look good next to them and
not be an embarrassment. As George says, “I want a nice…simple…sophisticated girl…not a
poet”, it shows the types of women that men at the time wanted to marry. This is translated
into his actions toward Beneatha. Beneatha says “[George has] a beautiful car and he takes
[her] to nice places.”
However, this play also characterizes the difference between women. This is shown
through the relationship between Mrs. Johnson and Beneatha. Mrs. Johnson sees women
with an education as proud and lofty. She states that Beneatha acts as thought she doesn’t
“[have] time to pass the time of day with [anybody who didn’t] go to college.” Her tone
toward Beneatha suggests that even at this time, some women shared the view that their
gender belonged in the household rather than in the professional world. There is also a
difference between Ruth and Beneatha, whom embody the traditional and modern views of
women. Even their interaction with the male characters of the story show how the views
differ. When Beneatha is with George or Asagai, she enjoys speaking of intellectual topics
and voicing her dreams. The physical interaction between the two involves how George
“turns [Beneatha’s] head and tries to nuzzle in.” Asagai “takes her full into his arms in a kiss
which proceeds to passion.” However, with Ruth, she states that when she and Walter went
to the movies, they “held hands” and were “still holding hands” at the end of movie.
Beneatha acts as though holding hands means nothing when she tells Ruth, “you’re killing
me.”
There is also a reference to abortion in this story. Ruth goes to the doctor when she
figures out that she is pregnant. Lena is extremely opposed to the idea of Ruth receiving an
abortion. When Ruth’s tongue slips and she calls the doctor a “she,” Lena is immediately
suspicious and is even angry when she confronts Ruth. Later, when she talks to Walter, she
tells him that “Ruth is thinking ‘bout getting rid of that child.” When Ruth confirms this and
tells them that she “gave her a five-dollar down payment,” Lena waits for Walter to say
something. She wants him to say that they are “a people who give children life, not who
[destroy] them.” This shows how abortion was looked down upon by the traditional people
during this time.
Setting
“The Younger living room would be a comfortable and well-ordered room if it were not for a
number of indestructible contradictions to this state of being. Its furnishings are typical and
undistinguished and their primary feature now is that they have clearly had to accommodate
the living of too many people for too many years -- and they are tired. Still, we can see that
at some time, a time probably no longer remembered by the family (except perhaps for
Mama) the furnishings of this room were actually selected with care and love and even hope
-- and brought to this apartment and arranged with taste and pride.
That was a long time ago. Now the once loved pattern of the couch upholstery has to fight
to show itself from under acres of crocheted doilies and couch covers which have themselves
finally come to be more important than the upholstery. And here a table or a chair has been
moved to disguise the worn places in the carpet; but the carpet has fought back by showing
its weariness, with depressing uniformity, elsewhere on its surface.
Weariness has, in fact, won in this room. Everything has been polished, washed, sat on,
used, [and] scrubbed too often. All pretenses but living itself have long since vanished from
the very atmosphere of this room.
Moreover, a section of this room, for it is not really a room unto itself, though the
landlord's lease would make it seem so, slopes backward to provide a small kitchen area,
where the family prepares the meals that are eaten in the living room proper, which must
also serve as dining room. The single window that has been provided for these "two" rooms
is located in this kitchen area. The sole natural light the family may enjoy in the course of a
day is only that which fights its way through this little window.
At left, a door leads to a bedroom which is shared by Mama and her daughter, Beneatha.
At right, opposite, is a second room (which in the beginning of the life of this apartment was
probably a breakfast room) which serves as a bedroom for Walter and his wife, Ruth.”
(Diyanni 1456)
The introduction of at the beginning of Act sets up the setting of the entire play. The
living room is the most important place as it is almost the only site. Everything occurs in
the room as the family seems to always converse in that one area. The living room
represents the hope of the family as it had deteriorated over the years. Similar to their
hope, the living room used to be cared for, but now it “clearly had to accommodate the
living of too many people for too many years -- and [it is] tired.” “Weariness has, in fact,
won in this room. Everything has been polished, washed, sat on, used, [and] scrubbed too
often. All pretenses but living itself have long since vanished from the very atmosphere of
this room.” The relation is clearly evident as weariness has won and that the family merely
pretends to be living well but is clearly unhappy. “A table or a chair has been moved to
disguise the worn places” shows that they have tried to fix their lives, yet the true nature
and state of their lives always reveals itself despite their efforts. Based on a regular four
legged table and chair, we see the importance of the four as it often represented as a cycle.
The cycle here is when the Younger family attempts to fix their lives and pursue their dreams,
yet always encounters obstacles. In addition, the number four has a traditional symbolic
reference to women as we see how the story is dominated by several female characters and
very few males. “[The] carpet has fought back by showing its weariness, with depressing
uniformity.” Although they attempt to fix their lives “too often”, everything has been the
unchanging. “Everything has been polished washed, sat on, used, [and] scrubbed too
often.”
The family does not own the place as they must lease the property, showing
dependence on others. The room is constricting, like their lives, as there is virtually no
room to expand. For example, “[a] section of this room, for it is not really a room unto itself,
though the landlord's lease would make it seem so, slopes backward to provide a small
kitchen area” shows that the family is limited. After all, Ruth and Walter share a room that
was originally intended to be “a breakfast room,” Ruth and Mama share a bedroom, and
Travis sleeps on the “make-down bed” at the center of the living room. The kitchen also
relates to feminism as the women are often confined to that small area with no room to
maneuver.
“The single window that has been provided for these "two" rooms is located in this
kitchen area. The sole natural light the family…” This has great significance as it is a
metaphor for their dreams. The light is a traditional symbol for renewal of hope as the
family struggles to get to their dreams. The sole natural light shows that their hope is
diminished and that only a small light illuminates their dreams.
The time takes place after World War II, most likely in the 1960s. The 1960s was the
most predominant era for the Civil Rights Movement as we see the conflicts between black
and white people. Throughout the entire play we see how black people are looked down
upon. For example, Walter’s occupation as a chauffeur and the situation with Mr. Linder
and the white residents of Clybourne Park show that there is a clear division in society. In
addition, the time is a good indication on the progress of women as women are looked
down upon. Beneatha’s continuing dream to climb up the social ladder to become a doctor
is a continuing problem in the story as her sex presents several obstacles for her.
The actual place of the story takes place in Chicago’s Southside. Chicago was well
known for the racial riots that occurred. We can see how the environment of Chicago
represents the tension in the play as there are constant references to “firebombing.” The
author’s specific location of the Southside is an obvious allusion to being in the Deep South.
The Deep South was where blacks resided and society was divided, often being known for
unfair treatment of blacks. Similarly, Chicago Southside is an obvious display on how there
is great social segregation. The divisions are seen when the Younger family attempts to
move into Clybourne Park. “Clybourne Park? Mama, there ain’t no colored people living in
Clybourne Park.” (Diyanni 1491) The setting of the racially divided Chicago is evident as
social tensions rise.
“She crosses through the room to the window, opens it, brings in a feeble little plant
growing doggedly in a small pot in the window sill.” (Diyanni 1464) The plant is an
important symbol of setting as is represents the dreams of the family. Mama often holds
the power as her money represents the renewal of dreams. In correlation, Mama’s relation
to the plant represents the hope as the plant beings to grow. We see the importance of
the plant in the setting as she removes the plant from the light several times as hope wavers.
Aforementioned, we see the importance of cycles relating to their lives. The table and
chair represent cycles of the women and their dreams and now we see how the plant
represents hope as another cycle for it grows and decays from time to time.
When Beneatha states “what could be so dirty…that she has to vacuum…every…day,” it
revisits the idea that “everything has been polished, washed, sat on, used, [and] scrubbed on
too often.”
Scene two starts on Saturday morning. The furniture has been “shoved hither and yon”
and the walls are being washed down. “As [the family works], the radio is on and a Southside
disk-jockey program is inappropriately filling the house with a rather exotic saxophone blues.”
Through the use of the exotic saxophone music, a cheerful atmosphere is released in the
household. This is particularly evident in the actions of Beneatha and how it characterizes
her.
Also during this time, it is raining. This heightens the tension and excitement within the
family. Therefore, when “the bell sounds suddenly and sharply,” Ruth, Travis, and Mama are
stunned, “serious and silent.” The bell is a symbol for hope as its ringing signals the arrival of
the check, which for the family is hope and life.
Act Two Scene One begins later the same day. The same blues music is still playing in
the background, but Beneatha puts in a record that plays a “lovely Nigerian melody.” The
music affects the mood of the play as it causes Beneatha and Walter to begin acting as
though they were native Africans. Through this music and their exuberance, the atmosphere
of the scene shifts. The lighting suggests “the world of WALTER’S imagination” and the mood
shifts from “pure comedy” to showing the “inner WALTER.” The moment seems unreal, but
when the music shuts off and George Murchison enters the room, the mood suddenly shifts
back to reality.
Act 2 Scene 2 occurs on Friday night a few weeks later. This night contributes to the
“melodramatic” mood created by George as he attempts to seduce Beneatha. As the phone
rings, tension is built up. This is also supported by the “steamy, deep blues” music that
enters the room. All dialogue after this has somewhat of a dismal tone. However, when Lena
turns off the radio, an aura of seriousness emanates from the silence. She gives Walter
control of the remaining money and the mood becomes lighter and escalates. When the
scene blacks out, it symbolizes the end of the cycle and the scene shifts.
Scene 3 occurs on Saturday, one week later. The scene begins with Ruth singing “Oh,
Lord, I don’t feel no ways tired! Children, oh glory hallelujah!” Later, when Walter enters the
room, he and Ruth dance to a “soulful and sensuous” melody. As they are dancing, the bell
rings. Mr. Lindner brings with him an atmosphere of false joy because his “welcoming
committee” merely wants to preserve the sense of white community. After he arrives, Ruth
cuts off the music, they stop dancing, and the joy has disappeared. When Mr. Lindner leaves,
the atmosphere returns to its original state of lightheartedness. The bell rings again and
there is hope in the air with the arrival of Bobo. However, upon receiving the news that Willy
has run off with the money, depression sinks in again. There is anger as Lena beats up Walter
for giving away all the money.
The beginning of Act 3 begins with a dismal atmosphere. There is a “gray light”
permeating the room. Walter is “alone with himself” and Beneatha sits at the table “looking
off.” There is an “empty sound of profound disappointment.” When the bell rings and Asagai
enters the house, he brings with him “energy and happy expectation” in contrast to the rest
of the family. After he leaves, the mood returns to becoming depressing. Even Lena, the
strongest person in the family, begins to lose hope. For Ruth, the atmosphere is desperate as
she pleads “we got to MOVE! We got to get OUT OF HERE!!” We see that the mood is truly
desperate as Walter begins to grovel on the floor in front of an imaginary Mr. Lindner. He
enters the bedroom and stays in solitude. However, when the bedroom door opens again for
him to confront Mr. Lindner, the light shines upon Walter. This builds tension into the
atmosphere. When Walter makes the decision to move into the household, the mood begins
to lighten up again.
“RUTH hesitates, then exits. MAMA stands, at last alone in the living room, her plant on the
table before her as the lights start to come down. She looks around at all the walls and
ceilings and suddenly, despite herself, while the children call below, a great heaving thing
rises in her and she puts her fist to her mouth to stifle it, takes a final desperate look, pulls
her coat about her, pats her hat and goes out. The lights dim down. The door opens and she
comes back in, grabs her plant, and goes out for the last time.” As the light dims in the
empty room, there is a loss of hope and a completion of the cycle. When the plant is taken
from the table, it signifies a new hope. The new cycle of life starts with their move into
Clybourne Park. This change in setting allows the reader/viewer to determine the theme of
the play.
Figurative Language
Furnishings…“They have clearly had to accommodate the living of too many people for too
many years – and they are tired.” (Diyanni-4, 1456) Personification
The furnishings represent how the family has had to put off their dreams and merely live the
same tiring life for many years.
RUTH: “Mr. Johnson’ll be in there and you’ll be fussing and cussing round here like a
madman!” (Diyanni – 4, 1457) simile
This describes the character of Walter. It shows how Walter has an impatient personality.
RUTH: “No – I’m just sleepy as the devil.” (Diyanni – 4, 1457) simile
This describes Ruth’s state of mind in the morning.
BENEATHA: “And then there are all those prophets who would lead us out of the
wilderness – into the swamps!” (Diyanni-4, 1464) allusion
This is a biblical allusion to the Israelites wandering in the wilderness. After they left Egypt,
they wandered throughout the desert for forty years, led by Moses. Beneatha refers to this
event to jibe at Walter’s desire to invest in a liquor store.
RUTH: “Life can be a barrel of disappointments, sometimes.” (Diyanni-4, 1467) Metaphor
Here we see the cycle of hope and disappointment as life is full of both. In this case, we
see how disappointment is currently upsetting Ruth.
RUTH: “Fresh – just fresh as salt, this girl!”
BENEATHA: “Well – if the salt loses its savor – “ (Diyanni-4, 1468), simile/allusion
Beneatha quotes this biblical allusion as a retort to Ruth’s comment. When “salt loses its
flavor” it is useless.
BENEATHA: “[Mrs. Murchison is] a scene!” (Diyanni-4, 1470) metaphor
Beneatha uses this metaphor to describe Mrs. Murchison. It exaggerates the actions of Mrs.
Murchison as it implies that she is overly dramatic and something to watch. It also expresses
Beneatha’s opinion that rich colored people are worse than rich white people.
MAMA: “Got to admit they got spirit – Bennie and Walter. Like this little old plant that ain’t
never had enough sunshine or nothing – and look at it…” (Diyanni-4, 1471) Extended
metaphor
Beneatha and Walter are compared to the plant. The plant is the symbol of hope and
dreams for the family. Even though they encounter hardships and difficulties, they manage
to thrive through it and live, much like the plant.
MAMA “Well, little boys’ hides ain’t as tough as Southside roaches. You better get over there
behind the bureau. I seen one marching out of there like Napoleon yesterday.” (Diyanni-4,
1472) Simile
This describes the roaches in the house. By stating that one was marching “like Napoleon,”
the condition of the apartment is shown. It becomes obvious that the roaches have become
abundant in the household and the family is unable to rid them all. Napoleon was a short
but incredibly proud general. Similarly, the cockroaches are small, but they march proudly
around the house.
ASAGAI: “Well…it is true that this is not so much a profile of a Hollywood queen as perhaps a
queen of the Nile” (Diyanni-4, 1475)
He is comparing Beneatha to the queen of the Nile, which is superior to the Hollywood
queen, the materialistic flashy world.
MAMA: “This here can is empty as Jacob’s kettle.” (Diyanni-4, 1477) allusion
At Jacob’s well, a woman was going to get some water with her empty kettle. This compares
the empty can to the woman’s empty pot. The allusion comes from a story in the bible when
Jesus told a woman who was taking water from a well that only believing in Him will give the
woman “living water.”
“He holds the envelope high above his head, like a little dancer” (Diyani-4, 1478) simile
Travis’s reaction toward the arrival of the insurance money is shown through this simile. By
portraying him as “a little dancer,” the excitement is conveyed. This sentiment is also shared
with the other members of the family.
MAMA: “Something eating you up like a crazy man.” (Diyanni-4, 1480) simile
Something is bothering Walter and he becomes crazy.
MAMA: “Oh…so now it’s life. Money is life. Once upon a time freedom used to be life – now
it’s money.” (Diyanni-4, 1481) metaphor
This describes the importance that money holds in the lives of Lena’s children. There is a
historical reference to slavery with the quote “freedom used to be life,” but the metaphor
shows how society has evolved to center around money. Mama laments this change.
“She is coquettishly fanning herself with an ornate oriental fan, mistakenly more like
Butterfly than any Nigerian that ever was” (Diyanni-4, 1483) simile
This describes Beneatha’s acting. She pretends to be a Nigerian woman, as since she is
dressed up in the traditional Nigerian clothing that Asagai has given her. However, by
comparing her to Madame Butterfly, this shows how she is much too elegant. It also portrays
the incorrect view of Nigerian women that she has.
WALTER: “YEAH…AND ETHIOPIA STRETCH FORTH HER HANDS AGAIN!...” (Diyanni-4, 1483)
personification
RUTH: “Yes – and Africa sure is claiming her own tonight.” (Diyanni-4, 1483) metaphor
Ethiopia and Africa are trying to gain their influence over people.
GEORGE: “What have you done to your head – I mean your hair!” (Diyanni-4, 1485)
synecdoche
George make’s a slip of the tongue after seeing Beneatha’s hair. However, this can also been
seen as synecdoche. By asking “what have you done to your head,” he asks what ideas she
has acquired. He wonders for her state of mind.
WALTER: “I am a volcano. Bitter? Here I am a giant – surrounded by ants!” (Diyanni-4, 1487)
metaphor
Walter is mad like a volcano, something that would erupt and explode at any moment. He is
very ambitious but he is not appreciated by the people around him.
GEORGE: “Good night, Prometheus! (Diyanni-4, 1488) allusion
George is being sarcastic as he calls Walter Prometheus. Prometheus brought fire down to
mankind and as punishment, was meant to have his liver pecked out by an eagle each day.
By comparing Walter to Prometheus, George is commenting on how Walter seems to be
“punished” each day by those who do not understand him and his dreams.
RUTH: “Oh, Walter, and with your mother working like a dog every day – “ (Diyanni-4, 1497)
metaphor
This is comparing Mama to a dog, who works hard. Walter no longer cares about his job,
missing three days, however Mama is working hard to provide for the family.
BENEATHA: “Sticks and stones may break my bones but words will never hurt me.”
(Diyanni-4, 1501) metaphor/common idiom/cliché
Beneatha is extremely stubborn and doesn’t take other people’s insults well.
BENEATHA: “Thirty pieces and not a coin less!” (Diyanni-4, 1504) biblical allusion
This is a biblical allusion to Judas’s betrayal. Mr. Lindner offers to buy the Youngers’ house for
more money that it was originally worth, but Beneatha makes this bitter remark.
WALTER: “THAT MONEY IS MADE OUT OF MY FATHER’S FLESH—“ (Diyanni-4, 1510)
metaphor
Walter exclaims this in response to learning that Willy has run off with the insurance money.
The family only received this money after his father’s death. He had worked his whole life
and gave up his “flesh” for this money.
ASAGAI: “I will be butchered in my bed some night by the servants of empire…” (Diyanni-4,
1513) metaphor
Asagai compares himself to a martyr, someone who is killed for being passionate about
his/her dreams. Beneatha is somewhat compared to the “servants of empire” as someone
who is slowing him down. He offered her marriage, but she says that she must think about it,
putting off the decision until later.
BENEATHA: “Cure the Great Sore of Colonialism – […] with the Penicillin of Independence - !”
(Diyanni – 4, 1512) metaphor
The “Great Sore of Colonialism” is often seen as relying on something else. It is seen as
something negative. However, the “Penicillin of Independence” will cure colonialism. After
independence is given to the colonies, the “disease” of conforming to the beliefs of one
dominant society will be cured.
BENEATHA: “That is not a man. That is nothing but a toothless rat.” (Diyanni-4, 1517)
metaphor
This is Beneatha’s bitter description of Walter after learning that the money has been lost.
She looks down upon him more than ever, and by calling him a “toothless rat,” she implies
that he is no longer worthy to be considered her brother, but rather he is a liar and a cheat.
He took all of her money for her education and invested it in his own dreams.
MAMA: “That ain’t no bale of cotton, please handle it so we can sit in it again!” (Diyanni-4,
1520) synecdoche
Mama contrasts her chair to a “bale of cotton” to show that it is important to her.
BENEATHA: “George Murchison! I wouldn’t marry him if he was Adam and I was Eve!”
(Diyanni-4, 1520) Allusion
This shows Beneatha’s determination to marry someone with the same values as she. By
comparing George to Adam and herself to Eve, she states that even if they were the only
people on earth, she would not marry George because he is too “shallow.”
Question 5
Joseph Asagai and George Murchison serve the purpose of offering contrasting views of
life to Beneatha. Throughout the story, we often see the how each member of the family is
offered two pathways in life. Generally, these paths conflict in terms of morality and social
context. Often we see one path that conforms to society and the others that opposes it.
The path that often differs from society usually encourages the character to live a better life.
Walter attempted to open a business; however, the idea went against social norms as black
men usually did not climb the economic ladder. In a similar situation, Beneatha is
confronted between the choice of Asagai and Murchison. Murchison represents the ideal
choice as he represents what would be best. He offers wealth, yet he holds women to the
tight stereotypes of that time as he assumes Beneatha will do nothing, and “wants
[Beneatha] to cut it [moody stuff] out.” He also does not want to “discuss the nature of
‘quiet desperation’ or to hear all about [Beneatha’s] thoughts.” Although the choice might
seem logical, Murchison represents a conflicting view as Beneatha hopes to become
independent and a doctor. Asagai is more fitting as he always advocates expressionism,
something Beneatha adores. He believes that Beneatha and he “… have a great deal to talk
about. …about identity and time and all that” “About how much time one needs to know
what one feels.” We can see the closer relationship between Beneatha and Asagai as both
people attempt to engage in their cultural backgrounds to feel more complete. Similar to
Beneatha, Asagai is proud of his heritage, “Nigeria is my country. Yoruba is my tribal origin –
“Asagai and Murchison are the choices Beneatha must make to either conform to society or
be independent.
Question 10
The first stanza consists of a series of rhetorical questions. Which have similar
metaphorical meanings telling how some dreams by their own nature are unrealistic. “Does
it dry up like a raisin in the sun?” This important line from which the poem is derived,
questions the future of an unfulfilled dream. This central theme reoccurs throughout the
play as we learn of Ruth and Lena’s dream for a house, Walter’s dream for a business, and
Beneatha’s dream to become a doctor. “fester like a sore – and then run?” the dream does
not dry up entirely, so it irritates the holder until he compelled to do something. “we have
got to MOVE! We got to get OUT OF HERE!!” This is exemplified in Walter’s actions when he
took “the money made from his father’s flesh” and invested it phony business. “does it stink
like rotten meat?” the dream dying in the mind, and finally dissipates. When Walter’s dream
finally fails, his want of a business also disappears. “crust and sugar over,” literally, the dream
becomes stagnant as there is no more hope. In the play, Walter fails as he realizes that all
the money is gone. “He starts to crumple down on the floor…..ONLY Walter’s sobs reply.”
shows one can continue on. “Maybe it says like a heavy load.” shows a reoccurring part of
the play. Walter’s dream to open a business seems to bother family life as the family is
constantly torn in the arguing. “Mama, you didn’t go do something with that insurance
money, something crazy?” The “heavy load” of the unaccomplished dream is the constant
bickering of the family. In addition, Beneatha’s unfinished dream to become a doctor also
bears a “heavy load” as she bickers often with her brother over her dream. “or does it
explode,” quite literally, the dream is destructive and disappears when the dream fails is one
of the harmful possibilities for a “dream deferred”, hinting in the story that there is always
something worse that could happen.