The Glass Menagerie
Tennessee Williams (That's not a real person. He is made up)
Unique to this play, one of the characters (Tom, specifically) narrates the play as if he wrote this portrayal of his memories. Being a memory subject to psychological license and selective recollection, the play exhibits several themes stated explicitly by the narrator.
In the opening scene, Tom introduces himself, the setting, and the idea of the memory play to the audience as both character and narrator. One practical function of this introduction is to remind the audience that this version of Tom's memories will bear some exaggerations and omissions that carry Tom's interpretations of the memories. For some reason or another, Tom is looking back on these memories and has invited the audience to study his recollections along with him.
Specifically, Tom alerts the audience in his opening speech to the idea that the characters and people of the time of his memory suffered from delusions. Referring to the population's refusal to recognize hardships and dangers, Tom utilizes an antimetabole: "Their eyes had failed them, or they had failed their eyes, and so they were having their fingers pressed forcibly down on the fiery Braille alphabet of a dissolving economy" (Williams, 1236). Although some might think that the characters in the play simply cannot see or recognize signals of impending doom or failure, Tom reverses the idea to point out that the characters were able but unwilling to notice.
This theme of misinterpretation and deception comes between Amanda and Laura. Because Laura had deceived Amanda in regards to her typing classes, Amanda decided that Laura's only hope for a future lay in marriage. However, Amanda refuses to acknowledge two facts: Laura is disabled and charm was not only her husband's way of finding a wife, but also of deceiving her.
Sunday, September 30, 2012
Thursday, September 20, 2012
Family Unit: Edward
"Edward"
Anonymous
This poem (most likely a sort of ballad), leaves some purposeful ambiguity surrounding the characters of Edward and his mother. As for the purpose of the ambiguity, I have few ideas other than brevity; perhaps the author desired to point out how significant the actions of the two are in inferring their characters.
From the poem, the reader can infer that Edward is a noble who has killed his father for some reason. Because Edward displays selfish tendencies, the reader can infer that the murder was done for selfish reasons. Edward shows that he cares little about even his own family: " 'The world is large, let them beg through life, Mother, Mother, The world is large, let them beg through life, For them nevermore will I see, O.'" (Anonymous, 978). Even though Edward's family most likely had little to do with the murder, they will pay the price for his actions.
The reader then learns that Edward's mother bears some responsibility for the death of her husband. Even though she may have not been behind his murder, it is clear that Edward received his selfish values from his mother. Instead of focusing on the fact that her husband is dead (which she most likely knew before interrogating Edward), she plays games with Edward. She torments him with questions about his sword until he finally confesses. Then, without a moment of grief, she asks how he will atone for his actions. Additionally, she asks in what fate he will leave his estates, family, and mother. Finally, Edward claims that she will bear the curse of hell for concentrating on possessions instead of how she can help her family.
Anonymous
This poem (most likely a sort of ballad), leaves some purposeful ambiguity surrounding the characters of Edward and his mother. As for the purpose of the ambiguity, I have few ideas other than brevity; perhaps the author desired to point out how significant the actions of the two are in inferring their characters.
From the poem, the reader can infer that Edward is a noble who has killed his father for some reason. Because Edward displays selfish tendencies, the reader can infer that the murder was done for selfish reasons. Edward shows that he cares little about even his own family: " 'The world is large, let them beg through life, Mother, Mother, The world is large, let them beg through life, For them nevermore will I see, O.'" (Anonymous, 978). Even though Edward's family most likely had little to do with the murder, they will pay the price for his actions.
The reader then learns that Edward's mother bears some responsibility for the death of her husband. Even though she may have not been behind his murder, it is clear that Edward received his selfish values from his mother. Instead of focusing on the fact that her husband is dead (which she most likely knew before interrogating Edward), she plays games with Edward. She torments him with questions about his sword until he finally confesses. Then, without a moment of grief, she asks how he will atone for his actions. Additionally, she asks in what fate he will leave his estates, family, and mother. Finally, Edward claims that she will bear the curse of hell for concentrating on possessions instead of how she can help her family.
Family Unit: Those Winter Sundays
"Those Winter Sundays"
Robert Hayden
Throughout the poem, the author ponders events from his childhood which he did not know at the time. More specifically, he utilizes imagery related to winter in order to highlight the regret he feels for his lack of gratitude as a child.
The poem is told in the past tense. More than that, the story is told in an indicative mood. This occurrence of the father's waking up early on weekends to care for the house and his family did not happen only once; the father repeatedly made this sacrifice. Likewise, the author and his family repeatedly neglected to show any gratitude: "No one ever thanked him" (Hayden, 781). Since these sacrifices were made, the author has matured and realized for himself how lonely sacrifices make one when not thanked.
In order to demonstrate the degree of sacrifice his father made on a daily basis, Hayden relies heavily on imagery related to winter, an aspect of the title. Not only did his father have to get up early, but he had to greet a cold world and labor with cracked hands and lips for his family. Then, Hayden shifts the imagery to warm and comfortable. While the father faced the cold upon waking up, because of his efforts, Hayden got to wake up to a home warmed by a fire. His father faced the hardships of the winter so that his family could enjoy the opposite of his experience.
Robert Hayden
Throughout the poem, the author ponders events from his childhood which he did not know at the time. More specifically, he utilizes imagery related to winter in order to highlight the regret he feels for his lack of gratitude as a child.
The poem is told in the past tense. More than that, the story is told in an indicative mood. This occurrence of the father's waking up early on weekends to care for the house and his family did not happen only once; the father repeatedly made this sacrifice. Likewise, the author and his family repeatedly neglected to show any gratitude: "No one ever thanked him" (Hayden, 781). Since these sacrifices were made, the author has matured and realized for himself how lonely sacrifices make one when not thanked.
In order to demonstrate the degree of sacrifice his father made on a daily basis, Hayden relies heavily on imagery related to winter, an aspect of the title. Not only did his father have to get up early, but he had to greet a cold world and labor with cracked hands and lips for his family. Then, Hayden shifts the imagery to warm and comfortable. While the father faced the cold upon waking up, because of his efforts, Hayden got to wake up to a home warmed by a fire. His father faced the hardships of the winter so that his family could enjoy the opposite of his experience.
Wednesday, September 19, 2012
Family Unit: The Drunkard
"The Drunkard"
Frank O'Connor
In this rather comedic story, characterizations of both the narrator and his father lay the groundwork for a prominent theme: seeing flaws in another person is sometimes the only way people improve.
The narrator's father is revealed to the reader through direct characterization. He is a hard-working man. When sober. Mick spends the majority of his time saving his money and making prudent, well-informed decisions. However, once tragedy strikes or he starts to feel superior, he decides to have a little alcohol in either mourning or celebration which turns into a few weeks of drunkenness and lost pay. "Sooner or later, the wpiritual pride grew till it called for some form of celebration. Then he took a drink..." (O'Connor, 344). Every time the cycle hits this stage, the family is put in financial crisis.
Because of his father's calamitous alcohol cycle, the narrator must assume the role of a "brake" for his father. However, he is quick to point out that he has never been successful in this role before because of his lack of foresight. Ironically, this ingenuous quality eventually led to his success. Not knowing any better, the narrator drank his father's pint. As a result, Mick had to take care of him, his vomiting, and his gashed head. There is little doubt that this image of his son staggering and insulting random women would make Mick question his affinity for alcohol.
The narrator made his father realize the folly in his ways by allowing the roles to reverse for a day.
Frank O'Connor
In this rather comedic story, characterizations of both the narrator and his father lay the groundwork for a prominent theme: seeing flaws in another person is sometimes the only way people improve.
The narrator's father is revealed to the reader through direct characterization. He is a hard-working man. When sober. Mick spends the majority of his time saving his money and making prudent, well-informed decisions. However, once tragedy strikes or he starts to feel superior, he decides to have a little alcohol in either mourning or celebration which turns into a few weeks of drunkenness and lost pay. "Sooner or later, the wpiritual pride grew till it called for some form of celebration. Then he took a drink..." (O'Connor, 344). Every time the cycle hits this stage, the family is put in financial crisis.
Because of his father's calamitous alcohol cycle, the narrator must assume the role of a "brake" for his father. However, he is quick to point out that he has never been successful in this role before because of his lack of foresight. Ironically, this ingenuous quality eventually led to his success. Not knowing any better, the narrator drank his father's pint. As a result, Mick had to take care of him, his vomiting, and his gashed head. There is little doubt that this image of his son staggering and insulting random women would make Mick question his affinity for alcohol.
The narrator made his father realize the folly in his ways by allowing the roles to reverse for a day.
Family Unit: Once Upon a Time
"Once Upon a Time"
Nadine Gordimer
In this dark parody of a bedtime story, Gordimer uses allusion and irony to establish a theme: one should connect with instead of blocking out others if one desires safety.
In the opening scene of the story, the narrator fears that a burglar or murderer has entered her house. Even though the source of the creaking isn't a confirmed murderer, the narrator realizes that the source of the creaking comes from the hollowing of the earth that created the potential conflict between the narrator and a murderer. In the narrator's country (South Africa, for those who neglected to read the background information), a large segment of the nation's poor, once used as cheap labor, have been rioting, burglarizing, and murdering as a result of the years of exploitation. This allusion to real abuses lays the groundwork for the story's theme to develop.
After the allusion had been established, Gordimer focused on a major irony in the story of the family: instead of building a wall to keep the rioters out, the family built a barrier to keep the family stuck inside the home. The final stage of the fence is described with sinister connotation: "It as the ugliest but the most honest in its suggestion of the pure concentration-camp style, no frills, all evident efficacy" (Gordimer, 235). While the family exerted all of its energy to protect the home from the outside world, they ended up creating a wall that shut them in their own world. In the end, the family never encountered a single rioter; the boy's tragedy lay in his parents' isolationist designs.
If the family had responded to the conflicts of the allusion with a more accepting approach, the parents could have avoided becoming the harm they so desperately tried to avoid.
Nadine Gordimer
In this dark parody of a bedtime story, Gordimer uses allusion and irony to establish a theme: one should connect with instead of blocking out others if one desires safety.
In the opening scene of the story, the narrator fears that a burglar or murderer has entered her house. Even though the source of the creaking isn't a confirmed murderer, the narrator realizes that the source of the creaking comes from the hollowing of the earth that created the potential conflict between the narrator and a murderer. In the narrator's country (South Africa, for those who neglected to read the background information), a large segment of the nation's poor, once used as cheap labor, have been rioting, burglarizing, and murdering as a result of the years of exploitation. This allusion to real abuses lays the groundwork for the story's theme to develop.
After the allusion had been established, Gordimer focused on a major irony in the story of the family: instead of building a wall to keep the rioters out, the family built a barrier to keep the family stuck inside the home. The final stage of the fence is described with sinister connotation: "It as the ugliest but the most honest in its suggestion of the pure concentration-camp style, no frills, all evident efficacy" (Gordimer, 235). While the family exerted all of its energy to protect the home from the outside world, they ended up creating a wall that shut them in their own world. In the end, the family never encountered a single rioter; the boy's tragedy lay in his parents' isolationist designs.
If the family had responded to the conflicts of the allusion with a more accepting approach, the parents could have avoided becoming the harm they so desperately tried to avoid.
Family Unit: A Worn Path
"A Worn Path"
Eudora Welty
In this short story, Phoenix Jackson faces several obstacles alone in order to collect the medicine in town for her grandson who swallowed lye several years prior. To highlight Phoenix's solitude in her acts, both brave and deprave, Welty relies extensively on apostrophe and personification.
On her way to town, Phoenix's exhaustion results in delusion. She imagines that a young boy is offering her a slice of cake while she rests. " 'That would be acceptable,' she said. But when she went to take it there was just her own hand in the air" (Welty, 224). Even though she is receiving no help at this point from anyone, she thanks the child as if he were really there. This delusion reinforces the idea that Phoenix, in her old and vulnerable state, carries out her quest for someone in particular who would assist her if he could.
In addition to a seemingly nonsensical apostrophe, Welty utilizes personification to create a tangible conflict to reflect an intangible conflict. During her trek, Phoenix gets caught in a thorny bush. However, she points out that, like a security guard, the bush is simply carrying out a function it was designed to carry out. Her only option is to outmaneuver the bush. Similarly her economic standing is something with which she cannot negotiate; she can only take actions to alleviate her position. In her struggle with intangible poverty, she steals and accepts charity: two options only facilitated through Phoenix's swallowing of pride and conscience.
Eudora Welty
In this short story, Phoenix Jackson faces several obstacles alone in order to collect the medicine in town for her grandson who swallowed lye several years prior. To highlight Phoenix's solitude in her acts, both brave and deprave, Welty relies extensively on apostrophe and personification.
On her way to town, Phoenix's exhaustion results in delusion. She imagines that a young boy is offering her a slice of cake while she rests. " 'That would be acceptable,' she said. But when she went to take it there was just her own hand in the air" (Welty, 224). Even though she is receiving no help at this point from anyone, she thanks the child as if he were really there. This delusion reinforces the idea that Phoenix, in her old and vulnerable state, carries out her quest for someone in particular who would assist her if he could.
In addition to a seemingly nonsensical apostrophe, Welty utilizes personification to create a tangible conflict to reflect an intangible conflict. During her trek, Phoenix gets caught in a thorny bush. However, she points out that, like a security guard, the bush is simply carrying out a function it was designed to carry out. Her only option is to outmaneuver the bush. Similarly her economic standing is something with which she cannot negotiate; she can only take actions to alleviate her position. In her struggle with intangible poverty, she steals and accepts charity: two options only facilitated through Phoenix's swallowing of pride and conscience.
Thursday, September 13, 2012
A Raisin in the Sun: Act III
A Raisin in the Sun
Lorraine Hansberry
In the last act of the play, Beneatha and Asagai argue about the nature of life. Beneatha, now a realist, uses the events of the day to argue that life is just a circle without any progress against pain while Asagai, an idealist, argues that life is a line that may seem to bend but will progress eventually even if people can't see it. Nevertheless, both are proven right to some degree.
In some ways, the family doesn't progress as a result of the action of the play. At the beginning, the family was in poor financial standing. Even though Mama received $10,000 at one point in the play, the money is lost just as quickly as it was gained. However, the cyclical nature of the plot is not all negative. The typical dynamic of the family is reestablished. Beneatha and Walter start bickering "(Angrily, precisely as in the first scene of the play)" (Hansberry, 150). The problem that the money caused through confrontations with Walter disappeared along with the money. The playfulness of the two siblings while the others look on with smiles returns.
However, new and largely positive elements are introduced into the family's life. Even though the family has made little progress financially, they now possess a new house which represents a new beginning and hope for progress in the future. Also, the family is soon to meet a new addition to the family who could potentially play a part in lifting the family out of poverty. Most ironically, just after Beneatha and Asagai argue about the philosophy behind the universe, Asagai introduces a new alternative to Beneatha she had never had before: search for her future as a doctor with Asagai in Africa instead of dancing around an apartment in Chicago in traditional African garb.
Lorraine Hansberry
In the last act of the play, Beneatha and Asagai argue about the nature of life. Beneatha, now a realist, uses the events of the day to argue that life is just a circle without any progress against pain while Asagai, an idealist, argues that life is a line that may seem to bend but will progress eventually even if people can't see it. Nevertheless, both are proven right to some degree.
In some ways, the family doesn't progress as a result of the action of the play. At the beginning, the family was in poor financial standing. Even though Mama received $10,000 at one point in the play, the money is lost just as quickly as it was gained. However, the cyclical nature of the plot is not all negative. The typical dynamic of the family is reestablished. Beneatha and Walter start bickering "(Angrily, precisely as in the first scene of the play)" (Hansberry, 150). The problem that the money caused through confrontations with Walter disappeared along with the money. The playfulness of the two siblings while the others look on with smiles returns.
However, new and largely positive elements are introduced into the family's life. Even though the family has made little progress financially, they now possess a new house which represents a new beginning and hope for progress in the future. Also, the family is soon to meet a new addition to the family who could potentially play a part in lifting the family out of poverty. Most ironically, just after Beneatha and Asagai argue about the philosophy behind the universe, Asagai introduces a new alternative to Beneatha she had never had before: search for her future as a doctor with Asagai in Africa instead of dancing around an apartment in Chicago in traditional African garb.
A Raisin in the Sun: Act II Scene iii
A Raisin in the Sun
Lorraine Hansberry
I have finished my literary terms blogs (praises be to the almighty), so I have decided to ponder task number 12: discuss a point of no return for a character. Obviously, when Walter realizes he's been duped, he reached an awful point of no return.
Walter planned to make more money through Willy while the group waited for the liquor license to get approved. Unfortunately, Willy planned a much more immediate use for the members' money which provided no benefit to the investors. The worst part is that Walter didn't just blow his share of his father's money; he usurped Beneatha's share as well. Now, there is no way of getting the money back, and he now has to live with the consequences of his selfish ways that stretch back to before the play.
First of all, Mama is beyond furious with Walter for his betrayal. She claims he has destroyed his father's legacy by saying, "... working and working and working like somebody's old horse... killing himself... and you -you give it all away in a day" (Hansberry, 129). Even though Big Walter died before the play opened, Beneatha's future was still among his intentions with the money he left behind. As a result, Walter ruined his father's plans and his memory.
This point of no return was made possible by Walter's inability to see the support he gets from others. Earlier in the play, Walter declared that no one in the family was on his side. To get away from his family, Walter constantly searched for a plan for his future outside of the home. However, it turned out that he could only trust family; all others would seek to take advantage of him.
Lorraine Hansberry
I have finished my literary terms blogs (praises be to the almighty), so I have decided to ponder task number 12: discuss a point of no return for a character. Obviously, when Walter realizes he's been duped, he reached an awful point of no return.
Walter planned to make more money through Willy while the group waited for the liquor license to get approved. Unfortunately, Willy planned a much more immediate use for the members' money which provided no benefit to the investors. The worst part is that Walter didn't just blow his share of his father's money; he usurped Beneatha's share as well. Now, there is no way of getting the money back, and he now has to live with the consequences of his selfish ways that stretch back to before the play.
First of all, Mama is beyond furious with Walter for his betrayal. She claims he has destroyed his father's legacy by saying, "... working and working and working like somebody's old horse... killing himself... and you -you give it all away in a day" (Hansberry, 129). Even though Big Walter died before the play opened, Beneatha's future was still among his intentions with the money he left behind. As a result, Walter ruined his father's plans and his memory.
This point of no return was made possible by Walter's inability to see the support he gets from others. Earlier in the play, Walter declared that no one in the family was on his side. To get away from his family, Walter constantly searched for a plan for his future outside of the home. However, it turned out that he could only trust family; all others would seek to take advantage of him.
A Raisin in the Sun: Act II Scene i
A Raisin in the Sun
Lorraine Hansberry
The seemingly largest question of the play so far (what is Mama going to do with the insurance money) is finally answered. Mama bought a new house, an escape from the cramped apartment the Younger family has filled for years. However, the house serves as a distinct symbol for Ruth, Mama, and Walter.
To Ruth, the new house represents a future for her family. In the apartment, there is barely room for the current inhabitants. Mama and Beneatha share a room, Walter and Ruth share a room, and Travis has to sleep in the living room. More importantly, Travis has nowhere to play safely. Ruth can now say goodbye to her weary apartment.
To Mama, the house represents a new adventure with her late husband Big Walter. Even though he is no longer with the family, it was because of him Mama got the money to buy the house. To illustrate Big Walter's role in the new house, Mama tells Travis, "Now when you say your prayers tonight, you thank God and your grandfather- 'cause it was him who give you the house-in his way" (Hansberry, 91).
Conversely, to Walter, the house symbolizes a crushed dream. At the beginning of the play, Walter mused about using the insurance money to invest in a liquor store that would allow him to achieve a car, an education, and a house for his family. Mama didn't buy a house; she ruined Walter's hope for a wealthy future.
Lorraine Hansberry
The seemingly largest question of the play so far (what is Mama going to do with the insurance money) is finally answered. Mama bought a new house, an escape from the cramped apartment the Younger family has filled for years. However, the house serves as a distinct symbol for Ruth, Mama, and Walter.
To Ruth, the new house represents a future for her family. In the apartment, there is barely room for the current inhabitants. Mama and Beneatha share a room, Walter and Ruth share a room, and Travis has to sleep in the living room. More importantly, Travis has nowhere to play safely. Ruth can now say goodbye to her weary apartment.
To Mama, the house represents a new adventure with her late husband Big Walter. Even though he is no longer with the family, it was because of him Mama got the money to buy the house. To illustrate Big Walter's role in the new house, Mama tells Travis, "Now when you say your prayers tonight, you thank God and your grandfather- 'cause it was him who give you the house-in his way" (Hansberry, 91).
Conversely, to Walter, the house symbolizes a crushed dream. At the beginning of the play, Walter mused about using the insurance money to invest in a liquor store that would allow him to achieve a car, an education, and a house for his family. Mama didn't buy a house; she ruined Walter's hope for a wealthy future.
Wednesday, September 12, 2012
A Raisin in the Sun: Act I Scene ii
A Raisin in the Sun
Lorraine Hansberry
The highest tension in this scene comes from Walter and his unbearable stubbornness. More importantly, Walter's role as a flat character reflects a larger theme of the novel: a dream deferred.
Throughout the play, Walter has exhibited few traits; none of which are tolerable. Walter appears to be extremely bitter, hot-tempered, and devoid of any sense of responsibility. When confronted by any minor conflict, Walter succumbs to yelling and hyperbole. Still, nothing gets Walter more fired up than discussion about Mama's money.
Walter's plan to bring his family out of poverty is to buy a liquor store, something heavily detested by a highly conservative Mama. As a response, Walter completely blocks his family out: " RUTH: Where you going? WALTER: I'm going out! RUTH: Where? WALTER: Just out of this house somewhere- RUTH: (Getting her coat) I'll come too. WALTER: I don't want you to come!" (Hansberry, 71). Walter seems only to have two modes: gleeful when he gets his way and furious when he doesn't.
Even though Walter still is to blame for his demeanor, the reader can understand why Hansberry decided to endow Walter with his traits. For all of his life, Walter has lived at the bottom of society because of his financial and racial status. Now he is on the verge of completely dropping his dreams. With Walter, Hansberry seems to suggests that a dream deferred "explodes".
Lorraine Hansberry
The highest tension in this scene comes from Walter and his unbearable stubbornness. More importantly, Walter's role as a flat character reflects a larger theme of the novel: a dream deferred.
Throughout the play, Walter has exhibited few traits; none of which are tolerable. Walter appears to be extremely bitter, hot-tempered, and devoid of any sense of responsibility. When confronted by any minor conflict, Walter succumbs to yelling and hyperbole. Still, nothing gets Walter more fired up than discussion about Mama's money.
Walter's plan to bring his family out of poverty is to buy a liquor store, something heavily detested by a highly conservative Mama. As a response, Walter completely blocks his family out: " RUTH: Where you going? WALTER: I'm going out! RUTH: Where? WALTER: Just out of this house somewhere- RUTH: (Getting her coat) I'll come too. WALTER: I don't want you to come!" (Hansberry, 71). Walter seems only to have two modes: gleeful when he gets his way and furious when he doesn't.
Even though Walter still is to blame for his demeanor, the reader can understand why Hansberry decided to endow Walter with his traits. For all of his life, Walter has lived at the bottom of society because of his financial and racial status. Now he is on the verge of completely dropping his dreams. With Walter, Hansberry seems to suggests that a dream deferred "explodes".
Monday, September 10, 2012
A Raisin in the Sun: Act I, Scene i
A Raisin in the Sun
Lorraine Hansberry
Right from the beginning, Hansberry bombards the reader/spectator (choose reader or the Multiple Choice Monster will eat you in your sleep) with reminders that the Younger family is currently trapped in the lower reaches of society as most black families were after World War II. In order to establish completely the lower social status of the Youngers which sets the scene for several conflicts, Hansberry frequently employs the vernacular and colloquialisms and cliches which I have come to associate with lower-class African Americans after viewing dozens of episodes of Good Times and The Jeffersons.
Lorraine Hansberry
Right from the beginning, Hansberry bombards the reader/spectator (choose reader or the Multiple Choice Monster will eat you in your sleep) with reminders that the Younger family is currently trapped in the lower reaches of society as most black families were after World War II. In order to establish completely the lower social status of the Youngers which sets the scene for several conflicts, Hansberry frequently employs the vernacular and colloquialisms and cliches which I have come to associate with lower-class African Americans after viewing dozens of episodes of Good Times and The Jeffersons.
"Movin' on up"
During the first scene of Act I, the family awaits a large check from the insurance company after Lena's husband's death. However, the fate of this check divides the family; Walter wants the money to go toward an investment on a liquor store, Beneatha (a most unfortunate name) would want any money Mama didn't keep to go to her education, and Ruth wants a new house. Whatever future a member desired, all had in common one goal: use the money to attain a life in a higher status. Mama illustrates the dichotomy between wealth and the family's current situation partly marked by a lack of education by declaring, "Now don't you start, child. It's too early in the morning to be talking about money. It ain't Christian" (Hansberry, 41). Despite certain middle-class white teens who use "ain't" ironically, informal and nonstandard language like "ain't" generally indicates social class by indicating a lower level of education: something only money can achieve. By nominating the social standing of the Younger family as a central aspect of the play, Hansberry lays the groundwork for the major conflicts in which characters will be attempting to find a better life through money.
Additionally, the older generation relies rather heavily on cliches, or dead metaphors. While Beneatha fights for her own intellectual prowess against God, Mama and Ruth use antiquated metaphors to describe Beneatha's unrestrained audacity. Hansberry utilizes this difference in linguistic strategy to highlight the struggle between young and old.
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