"Those Winter Sundays" by Robert Hayden
With "Those Winter Sundays", Hayden describes a seemingly cold relationship between a father and son, at least from the child's perspective. Accordingly, cold imagery pervades the poem. The father dresses "in the blueblack cold"; the son heard "the cold splintering" at his father's efforts; eventually, the father "had driven out the cold" from the house (Hayden 782). Such frequent implementation of the word "cold" emphasizes the child's perspective of his father as a distant, emotionally hardened man. Operating under this mindset rather than analyzing everything his father was doing for him, the boy never offered any word of gratitude. Even worse, the boy spoke "indifferently to him", showing that in addition to his failure to appreciate his father's attempts at keeping him warm, he did not care about his father at all (Hayden 782). The boy could not appreciate the warmth behind his father's coldness. He got up early to drive cold out of their home so that the boy could live comfortably. The stress of doing so produced "chronic angers" in the father that put off the boy (Hayden 781). However, in the final lines of the poem, the boy, most likely a man now, perceives the love in his father's actions. He laments at his misbehavior, asking, "What did I know of love's austere and lonely offices?" (Hayden 782).
Thursday, September 20, 2012
Patricide in the First Degree
"Edward" by Anonymous
"Edward" describes a deranged man murdering his father after being advised by his mother. Edward did not wish to kill his father. This much can be seen in the first two stanzas when his mother asks why his sword is bloodied, and Edward states, "I have killed my hawk so good, and I had no more but he," and, "I have killed my red-roan steed, that once was so fair and free," (Anonymous 977). Edward compares his father to a precious hawk and a fair, free steed to emphasize his self-disgust at having killed a man he cared for very much. Edward also inveighs against his mother for convincing him to kill his father. This verbal assault, showing what Edward has done and why, manifests at the two most climactic points in the poem: stanzas three and seven. In stanza three, Edward reveals explicitly, "I have killed my father dear, alas, and woe is me," (Anonymous 978). This first climax in the poem solidifies the image of Edward as penitent and distraught over his mother's commanded actions. The second climax displays Edward's inner rage. In the seventh stanza, speaking to his mother, Edward says, "The curse of hell from me shall ye bear, such counsels you gave to me," (Anonymous 978). The counsels he speaks of are his mother's homicidal urgings, the motivation behind Edward's horrendous act. For these counsels, Edward damns his mother to hell, distancing himself completely from her and the evil he has committed.
"Edward" describes a deranged man murdering his father after being advised by his mother. Edward did not wish to kill his father. This much can be seen in the first two stanzas when his mother asks why his sword is bloodied, and Edward states, "I have killed my hawk so good, and I had no more but he," and, "I have killed my red-roan steed, that once was so fair and free," (Anonymous 977). Edward compares his father to a precious hawk and a fair, free steed to emphasize his self-disgust at having killed a man he cared for very much. Edward also inveighs against his mother for convincing him to kill his father. This verbal assault, showing what Edward has done and why, manifests at the two most climactic points in the poem: stanzas three and seven. In stanza three, Edward reveals explicitly, "I have killed my father dear, alas, and woe is me," (Anonymous 978). This first climax in the poem solidifies the image of Edward as penitent and distraught over his mother's commanded actions. The second climax displays Edward's inner rage. In the seventh stanza, speaking to his mother, Edward says, "The curse of hell from me shall ye bear, such counsels you gave to me," (Anonymous 978). The counsels he speaks of are his mother's homicidal urgings, the motivation behind Edward's horrendous act. For these counsels, Edward damns his mother to hell, distancing himself completely from her and the evil he has committed.
Wednesday, September 19, 2012
Like Father, Like Son
"The Drunkard" by Frank O'Connor
In "The Drunkard", Father is a hard working, caring parent of two boys that saves money diligently in order to get ahead in life. However, Father's hubris, his alcoholism, drains any excess income he makes and prevents him from achieving his goals. Therefore, when Mr. Dooley, Father's good friend, dies, Mother becomes concerned because she knows Dooley's funeral will give Father ample opportunity to embrace his vice. Accordingly, she sends her son, Larry, with Father to ensure his hubris does not consume him. As one could expect, Father and Larry end up at a pub following Dooley's funeral. When Father has his back turned, Larry downs his glass of porter out of curiosity and the humor begins. Utilizing stream of consciousness, O'Connor displays the deterioration of Larry's sobriety with phrases like, "I felt pleasantly philosophic," which transform into, "I found it hard to put back the glass, the counter seemed to have grown so high," (O'Connor 347). Realizing his son's inebriation, Father guides Larry out of the pub and toward home. Once home, Father endures Mother's invective against him for allowing Larry to reach his current state. However, Mother actually feels pride and affection for what her son has done. Inadvertently, Larry prevented Father from succumbing to his hubris by consuming the alcohol first. Thus, Larry did just what Mother intended him to do. Quite humorously, Mother describes Larry as Father's "guardian angel" (O'Connor 351). How fitting that a drunkard's guardian angel protects him by drinking his booze!
In "The Drunkard", Father is a hard working, caring parent of two boys that saves money diligently in order to get ahead in life. However, Father's hubris, his alcoholism, drains any excess income he makes and prevents him from achieving his goals. Therefore, when Mr. Dooley, Father's good friend, dies, Mother becomes concerned because she knows Dooley's funeral will give Father ample opportunity to embrace his vice. Accordingly, she sends her son, Larry, with Father to ensure his hubris does not consume him. As one could expect, Father and Larry end up at a pub following Dooley's funeral. When Father has his back turned, Larry downs his glass of porter out of curiosity and the humor begins. Utilizing stream of consciousness, O'Connor displays the deterioration of Larry's sobriety with phrases like, "I felt pleasantly philosophic," which transform into, "I found it hard to put back the glass, the counter seemed to have grown so high," (O'Connor 347). Realizing his son's inebriation, Father guides Larry out of the pub and toward home. Once home, Father endures Mother's invective against him for allowing Larry to reach his current state. However, Mother actually feels pride and affection for what her son has done. Inadvertently, Larry prevented Father from succumbing to his hubris by consuming the alcohol first. Thus, Larry did just what Mother intended him to do. Quite humorously, Mother describes Larry as Father's "guardian angel" (O'Connor 351). How fitting that a drunkard's guardian angel protects him by drinking his booze!
Analyzing a Crazy Old Woman
"A Worn Path" by Eudora Welty
To narrate her short story, Eudora Welty chooses to utilize the third person omniscient point of view. This allows for her audience to analyze the actions of her protagonist, Phoenix Jackson, objectively as well as through the perspectives of several other minor characters in an attempt to better understand Jackson's character. First, Welty includes passages of Jackson speaking to herself and experiencing hallucinations to emphasize Jackson's feeble mental integrity. For example, after she crossed a creek, Jackson rested and "a little boy brought her a plate with a slice of marble-cake on it . . . but when she went to take it there was just her own hand in the air," (Welty 224). Secondly, Welty includes dialogue between Jackson and a white hunter to characterize her bold, fearless, determined nature. After the hunter aims his weapon at Jackson and asks if she is scared, she replies, "No, sir, I seen plenty go off closer by," (Welty 227). Through the hunter, Welty also reveals why Jackson has been travelling through the woods: she needs to reach the local town. Once Jackson arrives in town, she visits a nurse's office to acquire medicine for her grandson. However, from what the nurse says to Jackson, one may reasonably infer that the boy has already died. She talks of how routinely Jackson makes this trek, how sad it is that the boy's throat will not heal, and reaffirms the cause of his plight: swallowing lye. In sufficient quantities, ingesting lye becomes deadly; the boy has died, but Jackson refuses to let go. Instead, she leaves the nurse's office, painted as a bold, loving, headstrong, yet grief-stricken old woman, to purchase a Christmas gift for the boy, or rather the boy's memory, that she loves so dearly.
To narrate her short story, Eudora Welty chooses to utilize the third person omniscient point of view. This allows for her audience to analyze the actions of her protagonist, Phoenix Jackson, objectively as well as through the perspectives of several other minor characters in an attempt to better understand Jackson's character. First, Welty includes passages of Jackson speaking to herself and experiencing hallucinations to emphasize Jackson's feeble mental integrity. For example, after she crossed a creek, Jackson rested and "a little boy brought her a plate with a slice of marble-cake on it . . . but when she went to take it there was just her own hand in the air," (Welty 224). Secondly, Welty includes dialogue between Jackson and a white hunter to characterize her bold, fearless, determined nature. After the hunter aims his weapon at Jackson and asks if she is scared, she replies, "No, sir, I seen plenty go off closer by," (Welty 227). Through the hunter, Welty also reveals why Jackson has been travelling through the woods: she needs to reach the local town. Once Jackson arrives in town, she visits a nurse's office to acquire medicine for her grandson. However, from what the nurse says to Jackson, one may reasonably infer that the boy has already died. She talks of how routinely Jackson makes this trek, how sad it is that the boy's throat will not heal, and reaffirms the cause of his plight: swallowing lye. In sufficient quantities, ingesting lye becomes deadly; the boy has died, but Jackson refuses to let go. Instead, she leaves the nurse's office, painted as a bold, loving, headstrong, yet grief-stricken old woman, to purchase a Christmas gift for the boy, or rather the boy's memory, that she loves so dearly.
An Ironic Frame Story
"Once Upon a Time" by Nadine Gordimer
"Once Upon a Time" serves as Nadine Gordimer's clever retort to a man requesting that she write a children's story. Gordimer introduces her "children's story" with a frame story describing her discomfort at feeling as if her house had been invaded by a burglar. To cope with her discomfort, Gordimer begins to tell herself a bedtime story, a tale which would normally entail adventure, wonder, and happiness. Therefore, when she begins her tale with a happy, suburban family living wonderfully in a lovely city, the story seems to follow the traditional archetype. However, Gordimer adds her own dark twist by surrounding the suburb with crime, violence, and death. As such, "Once Upon a Time" displays its first bit of irony by distorting a normally comforting bedtime story into something morose. Furthermore, within the tale, the suburban family seeks protection from ubiquitous danger. In doing so, the mother and father fortify their protective walls, add electronic gates, and install barbed wire fences not only to protect themselves, but also their young son. However, the boy ventured into the barbed wire and as he "screamed and struggled deeper into its tangle" he maimed himself severely, leaving his body a grotesque bloody mass (Gordimer 236). Irony presents itself once more; the barbed wire aimed to protect the boy ends up destroying him. Additionally, in recounting this gruesome bedtime story, Gordimer writes the children's story asked of her. Unfortunately for the people asking for it, the tale ironically takes on a much more gothic, dark quality than any true children's story should.
"Once Upon a Time" serves as Nadine Gordimer's clever retort to a man requesting that she write a children's story. Gordimer introduces her "children's story" with a frame story describing her discomfort at feeling as if her house had been invaded by a burglar. To cope with her discomfort, Gordimer begins to tell herself a bedtime story, a tale which would normally entail adventure, wonder, and happiness. Therefore, when she begins her tale with a happy, suburban family living wonderfully in a lovely city, the story seems to follow the traditional archetype. However, Gordimer adds her own dark twist by surrounding the suburb with crime, violence, and death. As such, "Once Upon a Time" displays its first bit of irony by distorting a normally comforting bedtime story into something morose. Furthermore, within the tale, the suburban family seeks protection from ubiquitous danger. In doing so, the mother and father fortify their protective walls, add electronic gates, and install barbed wire fences not only to protect themselves, but also their young son. However, the boy ventured into the barbed wire and as he "screamed and struggled deeper into its tangle" he maimed himself severely, leaving his body a grotesque bloody mass (Gordimer 236). Irony presents itself once more; the barbed wire aimed to protect the boy ends up destroying him. Additionally, in recounting this gruesome bedtime story, Gordimer writes the children's story asked of her. Unfortunately for the people asking for it, the tale ironically takes on a much more gothic, dark quality than any true children's story should.
Thursday, September 13, 2012
Beneatha's Contrasting Suitors
A Raisin in the Sun by Lorraine Hansberry
The two men that Beneatha Younger courts in A Raisin in the Sun diametrically oppose each other in manner and perspective. The first, George Murchison, comes off as a pretentious, rich snob inflated by arrogance and appropriately condescending. He discounts Beneatha's valuing her African heritage as idiotic reverance for "a bunch of raggedy-assed spirituals and some grass huts!" (Hansberry 481). As one may tell from the previous sentence, George does not respect Beneatha either. Overall, George values the superficial aspects of life and seeks to impress others with his pomp, grandeur, and supposed sophistication. Therefore, George represents the life Beneatha wants to leave behind, the life she is displeased with. In contrast, Joseph Asagai presents himself as a humble, ambitious, well-mannered young African man that Beneatha met during her studies. Asagai strongly supports Beneatha's search for her African identity. In fact, he instigated the search by sharing with Beneatha her heritage as a member of the Yoruba tribe. Also, Asagai displays much affection and respect for Beneatha when he refers to her as Alaiyo, meaning "One for Whom Bread Is Not Enough", to emphasize her ambition and drive in pursuing a medical career and a better life (Hansberry 468). Asagai seeks to help others, stand up for justice, and change the world in a positive way. Embodying morally based living based on the pursuit of meaningful, Asagai represents the life Beneatha wants to live. Additionally, the many major differences between Murchison and Asagai make them perfect foil characters for each other.
The two men that Beneatha Younger courts in A Raisin in the Sun diametrically oppose each other in manner and perspective. The first, George Murchison, comes off as a pretentious, rich snob inflated by arrogance and appropriately condescending. He discounts Beneatha's valuing her African heritage as idiotic reverance for "a bunch of raggedy-assed spirituals and some grass huts!" (Hansberry 481). As one may tell from the previous sentence, George does not respect Beneatha either. Overall, George values the superficial aspects of life and seeks to impress others with his pomp, grandeur, and supposed sophistication. Therefore, George represents the life Beneatha wants to leave behind, the life she is displeased with. In contrast, Joseph Asagai presents himself as a humble, ambitious, well-mannered young African man that Beneatha met during her studies. Asagai strongly supports Beneatha's search for her African identity. In fact, he instigated the search by sharing with Beneatha her heritage as a member of the Yoruba tribe. Also, Asagai displays much affection and respect for Beneatha when he refers to her as Alaiyo, meaning "One for Whom Bread Is Not Enough", to emphasize her ambition and drive in pursuing a medical career and a better life (Hansberry 468). Asagai seeks to help others, stand up for justice, and change the world in a positive way. Embodying morally based living based on the pursuit of meaningful, Asagai represents the life Beneatha wants to live. Additionally, the many major differences between Murchison and Asagai make them perfect foil characters for each other.
Materialistic Boy to Proud Family Man
A Raisin in the Sun by Lorraine Hansberry
Walter Younger, for a majority of the play, focuses intently on the value of wealth and the good it will do for his family. While Walter's perspective was born out of good intentions, his materialistic views fuel his frustration and division within the Younger family. Ruth and Walter argue over Walter's dreams of business, wealth, success, and how Ruth hinders each of them. At one point, Walter goes so far as to tell Mama, "[Money] is life, Mama!" as she questions why he focuses so much on external possessions (Hansberry 475). Accordingly, when Walter realizes his materialistic dreams have been crushed by a conniving Willy Harris, he snaps. Seeing no other solution the suddenly horrible fiscal situation, Walter shares with his family the plan to grovel before Mr. Lindner and accept his business proposal at the cost of pride. In doing so, anger and sorrow emanate from Walter. His life has been destroyed. However, when Lindner arrives and the time comes for Walter to sacrifice his manhood for the sake of wealth, he refuses. Instead, after explaining the Younger family's rich history of proud members, he stares Lindner in the face and says, "We don't want your money" (Hansberry 532). Making this decision, Walter assumes a clear identity as a dynamic character because of his mental shift from obsessive materialism to dignity and family pride. He also, in speaking to Lindner, takes on his manhood, at least according to Mama.
Walter Younger, for a majority of the play, focuses intently on the value of wealth and the good it will do for his family. While Walter's perspective was born out of good intentions, his materialistic views fuel his frustration and division within the Younger family. Ruth and Walter argue over Walter's dreams of business, wealth, success, and how Ruth hinders each of them. At one point, Walter goes so far as to tell Mama, "[Money] is life, Mama!" as she questions why he focuses so much on external possessions (Hansberry 475). Accordingly, when Walter realizes his materialistic dreams have been crushed by a conniving Willy Harris, he snaps. Seeing no other solution the suddenly horrible fiscal situation, Walter shares with his family the plan to grovel before Mr. Lindner and accept his business proposal at the cost of pride. In doing so, anger and sorrow emanate from Walter. His life has been destroyed. However, when Lindner arrives and the time comes for Walter to sacrifice his manhood for the sake of wealth, he refuses. Instead, after explaining the Younger family's rich history of proud members, he stares Lindner in the face and says, "We don't want your money" (Hansberry 532). Making this decision, Walter assumes a clear identity as a dynamic character because of his mental shift from obsessive materialism to dignity and family pride. He also, in speaking to Lindner, takes on his manhood, at least according to Mama.
Chicago. Trash Heap or Safe Haven?
A Raisin in the Sun by Lorraine Hansberry
In A Raisin in the Sun, all of the action takes place in Chicago's Southside sometime after World War II. This setting, viewed from two entirely different perspectives, elicits two entirely different responses from Walter and Mama. Walter sees the Southside as a slum, a run-down section of Chicago that he has been forced into because of his low social status. Walter's outlook on Chicago's Southside and the apartment he lives in manifests through his wife Ruth when she says, "LET'S GET THE HELL OUT OF HERE!" (Hansberry 533). To an extent, Mama sympathizes with Walter's view. She knows that her family must leave the area they live in now if a better future is to be had, but she does not see Chicago's Southside as completely negative. Located in a northern state, Chicago represents freedom and opportunity to Mama who grew up oppressed in the racist American south. Therefore, even though Mama recognizes the slum-like qualities of the Southside, she lives relieved that her children have the opportunity for much more than she could ever dream of. As such, Mama carries herself with an optimistic disposition as opposed to Walter's occasional pessimism and frustration. Really, the only negative responses Mama has to the setting come from living in a beat-up apartment, not Chicago's Southside. Accordingly, Mama purchases a quaint home for the family to create an ideal setting for Walter, Ruth, Beneatha, and Travis to pursue their dreams.
In A Raisin in the Sun, all of the action takes place in Chicago's Southside sometime after World War II. This setting, viewed from two entirely different perspectives, elicits two entirely different responses from Walter and Mama. Walter sees the Southside as a slum, a run-down section of Chicago that he has been forced into because of his low social status. Walter's outlook on Chicago's Southside and the apartment he lives in manifests through his wife Ruth when she says, "LET'S GET THE HELL OUT OF HERE!" (Hansberry 533). To an extent, Mama sympathizes with Walter's view. She knows that her family must leave the area they live in now if a better future is to be had, but she does not see Chicago's Southside as completely negative. Located in a northern state, Chicago represents freedom and opportunity to Mama who grew up oppressed in the racist American south. Therefore, even though Mama recognizes the slum-like qualities of the Southside, she lives relieved that her children have the opportunity for much more than she could ever dream of. As such, Mama carries herself with an optimistic disposition as opposed to Walter's occasional pessimism and frustration. Really, the only negative responses Mama has to the setting come from living in a beat-up apartment, not Chicago's Southside. Accordingly, Mama purchases a quaint home for the family to create an ideal setting for Walter, Ruth, Beneatha, and Travis to pursue their dreams.
Working for a Better Future
A Raisin in the Sun by Lorraine Hansberry
The theme of searching for and pursuing a better future pervades A Raisin in the Sun. Two of the main characters, Walter and Beneatha, embody that theme with their actions throughout the play. Walter, a hard-working chauffeur, has had enough of forcing his family to deal with such a poor standard of living and resolves to give them, and himself, more in life. He wants Ruth, Mama, and Beneatha to be able to relax, enjoy life, and forgo working themselves to death as his father did. Specifically, Walter says, "You wouldn't understand yet, son, but your daddy's gonna make a transaction . . . a business transaction . . . You just name it, son . . . and I hand you the world!" (Hansberry 502). As such, Walter takes money he received from Mama and attempts to start a business with men by the names of Willy Harris and Bobo. Eventually, Willy disappers with the capital and Walter's business dreams, as well as his dreams of a changed life, disappear. In contrast, Beneatha seeks for a better future through education, finding herself, and becoming a doctor. All of Beneatha's goals can be tied a man named Asagai. Asagai attends the university Beneatha studies at and thus shares her search for knowledge. Also, through Asagai, Beneatha learns of her African heritage and thus furthers her search for identity. Finally, in speaking with Asagai, Beneatha explains, with a childhood anecdote, how she knew she wanted to be a doctor. Therefore, in associating with Asagai and making an effort to receive a quality education, Beneatha attempts to revamp her quality of life as well as that of her family.
The theme of searching for and pursuing a better future pervades A Raisin in the Sun. Two of the main characters, Walter and Beneatha, embody that theme with their actions throughout the play. Walter, a hard-working chauffeur, has had enough of forcing his family to deal with such a poor standard of living and resolves to give them, and himself, more in life. He wants Ruth, Mama, and Beneatha to be able to relax, enjoy life, and forgo working themselves to death as his father did. Specifically, Walter says, "You wouldn't understand yet, son, but your daddy's gonna make a transaction . . . a business transaction . . . You just name it, son . . . and I hand you the world!" (Hansberry 502). As such, Walter takes money he received from Mama and attempts to start a business with men by the names of Willy Harris and Bobo. Eventually, Willy disappers with the capital and Walter's business dreams, as well as his dreams of a changed life, disappear. In contrast, Beneatha seeks for a better future through education, finding herself, and becoming a doctor. All of Beneatha's goals can be tied a man named Asagai. Asagai attends the university Beneatha studies at and thus shares her search for knowledge. Also, through Asagai, Beneatha learns of her African heritage and thus furthers her search for identity. Finally, in speaking with Asagai, Beneatha explains, with a childhood anecdote, how she knew she wanted to be a doctor. Therefore, in associating with Asagai and making an effort to receive a quality education, Beneatha attempts to revamp her quality of life as well as that of her family.
Act I: Characterization!
A Raisin in the Sun by Lorraine Hansberry
Centered around character personalities and dramatization, plays, like A Raisin in the Sun, need excellent characterization to develop into more than just scripts of dialogue. As such, "Act I" provides an immense amount of details concerning characters introduced, characterizing them indirectly through dialogue and stage actions and directly through the included stage directions.
For example, Ruth conveys her authoritative, yet loving nature when she scolds Travis as he eats breakfast but goes on to give him a loving farewell before he leaves for school. The dialogue between Ruth and Travis reveals her strict parenting methods, but the stage action of Ruth embracing Travis depicts her as affectionate. Furthermore, Walter characterizes himself quickly in his interactions with Ruth. Walter frequently insults Ruth, stating that "colored women . . . don't understand about building their men up" and implying that she is the reason he has not been able to pursue his business dreams to lift their family up (Hansberry 444). Walter's mentioned dream at getting his family out of its financial slump reveals that he is an extremely ambitious man, but a frustrated one at that. This quality proves important to Walter's character throughout the novel, especially as he changes toward the conclusion, but could not have been reveled without indirect characterization from "Act I". Concerning direct characterization, the most appropriate example would be the introduction of Mama. Preceding Mama's entrance, Hansberry includes stage directions that read, "She has, we can see, wit and faith of a kind that keep her eyes lit and full of interest and expectancy" (Hansberry 447-448). These directions paint Mama as a visionary. The interest and expectancy in Mama's eyes describe her desires for the future of her family. In equating Mama with wit and faith, Hansberry exposes the audience to Mama's extremely clever, religious, and moral character. All of the qualities revealed in "Act I" carry with the characters in an important way as the novel progresses.
Centered around character personalities and dramatization, plays, like A Raisin in the Sun, need excellent characterization to develop into more than just scripts of dialogue. As such, "Act I" provides an immense amount of details concerning characters introduced, characterizing them indirectly through dialogue and stage actions and directly through the included stage directions.
For example, Ruth conveys her authoritative, yet loving nature when she scolds Travis as he eats breakfast but goes on to give him a loving farewell before he leaves for school. The dialogue between Ruth and Travis reveals her strict parenting methods, but the stage action of Ruth embracing Travis depicts her as affectionate. Furthermore, Walter characterizes himself quickly in his interactions with Ruth. Walter frequently insults Ruth, stating that "colored women . . . don't understand about building their men up" and implying that she is the reason he has not been able to pursue his business dreams to lift their family up (Hansberry 444). Walter's mentioned dream at getting his family out of its financial slump reveals that he is an extremely ambitious man, but a frustrated one at that. This quality proves important to Walter's character throughout the novel, especially as he changes toward the conclusion, but could not have been reveled without indirect characterization from "Act I". Concerning direct characterization, the most appropriate example would be the introduction of Mama. Preceding Mama's entrance, Hansberry includes stage directions that read, "She has, we can see, wit and faith of a kind that keep her eyes lit and full of interest and expectancy" (Hansberry 447-448). These directions paint Mama as a visionary. The interest and expectancy in Mama's eyes describe her desires for the future of her family. In equating Mama with wit and faith, Hansberry exposes the audience to Mama's extremely clever, religious, and moral character. All of the qualities revealed in "Act I" carry with the characters in an important way as the novel progresses.
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