A RASIN IN THE SUN
A RASIN IN THE SUN
I chose the play A RASIN IN THE SUN (also known as “A Dream Deferred”)written by Lorraine Hansberry to study. Hansberry was born in Chicago on May 1930. She was a black playwright and an author. Who also campaigned and struggled for racial justice and equality. Living in that time, black people were being treated unequally, so Aframerican literature hadn’t been paid enough attention for a long time. Black people hadn’t changed their situation until 1950S, then black drama began to develop, among them, the most impressive drama was —A RASIN IN THE SUN, which received the New York Drama Critics Award. Showing the world that black people were firm, confident and struggling under the inspiration of national pride.
I selected the play instead of the other as I really appreciate black people’s national pride, their spirit of bravery, thought living under such an unequal society. They didn’t give up themselves, and wouldn’t. As the mama in the play said:” When you starts measuring somebody, measure him right, child, measure him right. Make sure you done taken into account what hills and valleys he come through before he got to wherever he is”. It was such persistence and determination led them to walk farther.
The protagonist’s family moved to Chicago in 1950s. As African descent in original, they had to fight against poverty and racial discrimination. Meanwhile, they need to deal with the contradiction from the family inside. Even though troubles won’t kill themselves, they still believed life would get easier soon. In general, the theme of the movie about the black was still the dream of America. Ten thousand dollars, which was Walter’ s father’s insurance after his death, unexpectedly crushed into a poor black family. The family shall earn their living hard in the bottom of society, then got not only a huge fortune, but also the worry about how to use the money suddenly. Walt planed to invest, while the sister Beneatha, who lived in her brother’s house wanted to study medical in college. The grandmother Lina, who came to help in Walt’s house after her retire and the owner of the money, finally made a choice. She brought a suite in the white area with part of the money, and the rest was used to be paid the tuition fees of Beneatha, and for Walter’s investment, which was far less than enough for Walter. Walter secretly took Beneatha’s tuition as his invest fund, and he was tricked. Meanwhile, the problem of racial and society level appeared before they moved in white area. Being despaired, Walter intended to sell the house, only to get others’rejection. At the end, when the seller came to
expel them out, Walter firmly said that they wouldn’t leave. And family members realized that they could only stick together can they live here. The movie ended when the family moved in the new house and their white neighbor reacted strangely.
I chose the last scene(ACT III) to analysis, though it was the end to the play, i think it was the most inspiring scene, and it uncovered the theme of the play. When everything fell into despair, when things could not be reversed, when people became weak and depressed, we audience first thought they might really sale the house to exchange much money, to redeem the loss. However, Mama helped stop the quarrel, mama’s words, inspiring, encouraging :”I come from five generations of people who was slaves and sharecroppers —but ain't nobody in my family never let anybody pay 'em no money that was a way of telling us we wasn't fit to walk the earth. We ain't never been that poor”. Mama was that kind strong and honest, she stopped the selling, she reunited the family, she relighted her kids’will. Walter’s answer to the white was an excellent performance. He showed black people’s faithful spirit. Determinedly, he represented the family. In fact, he represented all the black people. Though they were the first black to live in white area, they wouldn’t be scared, he said:” we will try to be good neighbors”. Simple words, but extremely strong voice. The family reunited, the spirit would give them strength, they would make their own differences.
This play was all about just a normal black family. But it successfully attracted people with its details and emotions. In addition, the movie’s words and expressions were quite spectacular. It meticulously showed the situation of the black or the people living at the bottom of the society, and through a view of a family and a ordinary story to state an important spirit, have faith in your dream when suffered, respect yourself when suffered, insist your principle when suffered, and how you love and forgive others when suffered. The spirit was the most valuable. Would America exist without the spirit? Can such a great civilization built if those who were looked down upon and wondered on the land hold none spirit like this? Can the ordinary farmers and workers constructed a modern country without such faith? Without the spirit, all into space.
ACT III
An hour later.
At curtain, there is a sullen light of gloom in the living room,
gray light not unlike that which began the first scene of Act One.
At left we can see WALTER within his room, alone with himself.
He is stretched out on the bed, his shirt out and open, his arms under his head. He does not smoke, he does not cry out, he merely lies there, looking up at the ceiling, much as if he were alone in the world.
In the living room BENEATHA sits at the table, still surrounded
by the now almost ominous packing crates. She sits looking off. We feel that this is a mood struck perhaps an hour before, and it lingers now, full of the empty sound of profound disappointment. We see on a line from her brother's bedroom the sameness of their attitudes. Presently the bell rings and BENEATHA rises without am- 561
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bition or interest in answering. It is ASAGAI, smiling broadly, strid- ing into the room with energy and happy expectation and conver- sation.
ASAGAI: I came over ... I had some free time. I thought I might help with the packing. Ah, I like the look of packing crates! A household in preparation for a journey! It depresses some peo- ple . . . but for me ... it is another feeling. Something full of the flow of life, do you understand? Movement, progress
makes me think of Africa.
BENEATHA: Africa!
ASAGAI: What kind of a mood is this? Have I told you how deeply you move me?
BENEATHA: He gave away the money, Asagai. . .
ASAGAI: Who gave away what money?
BENEATHA: The insurance money. My brother gave it away. ASAGAI: Gave it away?
BENEATHA: He made an investment! With a man even Travis wouldn't have trusted with his most worn-out marbles. ASAGAI: And it's gone?
BENEATHA: Gone!
ASAGAI: I'm very sorry . . . And you, now?
BENEATHA: Me? . . . Me? . . . Me, I'm nothing . . . Me. When I w very small. . . we used to take our sleds out in the wintertime
and the only hills we had were the ice-covered stone steps of some houses down the street. And we used to fill them in with snow and make them smooth and slide down them all day . . .
and it was very dangerous, you know . . . far too steep . . . and
sure enough one day a kid named Rufus came down too fast and hit the sidewalk and we saw his face just split open right there in front of us ... And I remember standing there looking
at his bloody open face thinking that was the end of Rufus. But the ambulance came and they took him to the hospital and they fixed the broken bones and they sewed it all up ... and the next time I saw Rufus he just had a little line down the middle of his face ... I never got over that. . .
ASAGAI: What?
BENEATHA: That that was what one person could do for another, fix him up —sew up the problem, make him all right again. That 563
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was the most marvelous thing in the world ... I
that. I always thought it was the one concrete thing in the world that a human being could do. Fix up the sick, you know—and make them whole again. This was truly being God . . . ASAGAI: You wanted to be God?
BENEATHA: 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. . .
ASAGAI: And you've stopped caring?
BENEATHA: Yes—I think so.
ASAGAI: Why?
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.
ASAGAI: Children see things very well sometimes —and idealists even better.
BENEATHA: I know that's what you think. Because you are still where I left off. You with all your talk and dreams about Africa! You still think you can patch up the world. Cure the Great Sore
of Colonialism—(loftily, mocking it) with the Penicillin of In- dependence—!
ASAGAI: Yes!
BENEATHA: Independence and then what? What about all the crooks and thieves and just plain idiots who will come into power and steal and plunder the same as before—only now they will be black and do it in the name of the new Independence —WHAT ABOUT THEM?!
ASAGAI: That will be the problem for another time. First we must get there.
BENEATHA: And where does it end?
ASAGAI: End? Who even spoke of an end? life? To living?
BENEATHA: An end to misery! To stupidity! Don't you see there
isn't any real progress, Asagai, there is only one large circle that we march in, around and around, each of us with our own little picture in front of us —our own little mirage that we think is the future.
ASAGAI: That is the mistake.
BENEATHA: What?
ASAGAI: What you just said—about the circle. It isn't a circle —it 564
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is simply a long line —as in geometry, you know, one that reaches into infinity. And because we cannot see the end—we also cannot see how it changes. And it is very odd but those
who see the changes—who dream, who will not give up —are called idealists . . . and those who see only the circle—we call them the "realists"!
BENEATHA: Asagai, while I was sleeping in that bed in there, people went out and took the future right out of my hands! And nobody asked me, nobody consulted me—they just went out and changed my life!
ASAGAI: Was it your money?
BENEATHA: What?
ASAGAI: Was it your money he gave away?
BENEATHA: It belonged to all of us.
ASAGAI: But did you earn it? Would you have had it at all if your father had not died?
BENEATHA: No.
ASAGAI: Then isn't there something wrong in a house —in a world—where all dreams, good or bad, must depend on the death of a man? I never thought to see you like this, Alaiyo.
You! Your brother made a mistake and you are grateful to him
so that now you can give up the ailing human race on account
of it! You talk about what good is struggle, what good is any-
thing! Where are we all going and why are we bothering! BENEATHA: AND YOU CANNOT ANSWER IT!
ASAGAI (shouting over her): I LIVE THE ANSWER! (pause) In
my village at home it is the exceptional man who can even read
a newspaper ... or who ever sees a book at all. I
and much of what I will have to say will seem strange to the people of my village. But I will teach and work and things will happen, slowly and swiftly. At times it will seem that nothing changes at all... and then again the sudden dramatic events
which make history leap into the future. And then quiet again. Retrogression even. Guns, murder, revolution. And I even will
have moments when I wonder if the quiet was not better than
all that death and hatred. But I will look about my village at the illiteracy and disease and ignorance and I will not wonder long. And perhaps . . . perhaps I will be a great man
haps I will hold on to the substance of truth and find my way
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always with the right course . . . and perhaps for it I will be butchered in my bed some night by the servants of empire . . . BENEATHA: The martyr!
ASAGAI (He smiles): ... or perhap I shall live to be a very old man, respected and esteemed in my new nation . . . And perhaps I shall hold office and this is what I'm trying to tell you, Alaiyo: Perhaps the things I believe now for my country will be wrong and outmoded, and I will not understand and do terrible things to have things my way or merely to keep my power. Don't you see that there will be young men and women—not British sol- diers then, but my own black countrymen—to step out of the shadows some evening and slit my then useless throat? Don't you see they have always been there . . . that they always will be. And that such a thing as my own death will be an advance? They who might kill me even . . . actually replenish all that I was.
BENEATHA: Oh, Asagai, I know all that.
ASAGAI: Good! Then stop moaning and groaning and tell me what you plan to do.
BENEATHA: Do?
ASAGAI: I have a bit of a suggestion.
BENEATHA: What?
ASAGAI (rather quietly for him): That when it is all over—that you come home with me—
BENEATHA (staring at him and crossing away with exasperation): Oh—Asagai —at this moment you decide to be romantic! ASAGAI (quickly understanding the misunderstanding): My dear, young creature of the New World—I do not mean across the city—I mean across the ocean: home—to Africa.
BENEATHA (slowly understanding and turning to him with mur- mured amazement): To Africa?
ASAGAI: Yes! . . . (smiling and lifting his arms playfully) Three hundred years later the African Prince rose up out of the seas and swept the maiden back across the middle passage over which her ancestors had come —
BENEATHA (unable to play): To—to Nigeria?
ASAGAI: Nigeria. Home, (coming to her with genuine romantic
flippancy) I will show you our mountains and our stars; and
give you cool drinks from gourds and teach you the old songs 566
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and the ways of our people—and, in time, we will pretend that—(very softly)—you have only been away for a day. Say that you'll come—(He swings her around and takes her full in his arms in
a kiss which proceeds to passion.)
BENEATHA (pulling away suddenly): You're getting me all mixed up-
ASAGAI: Why?
BENEATHA: Too many things—too many things have happened today. I must sit down and think. I don't know what I feel about anything right this minute. (She promptly sits down and props her chin on her fist.)
ASAGAI (charmed): All right, I shall leave you. No—don't get up. (touching her, gently, sweetly) Just sit awhile and think
Never be afraid to sit awhile and think. (He goes to door and looks at her.) How often I have looked at you and said, "Ah —
so this is what the New World hath finally wrought..."
He exits. BENEATHA sits on alone. Presently WALTER enters from his room and starts to rummage through things, feverishly looking for something. She looks up and turns in her seat. BENEATHA (hissingly): Yes—just look at what the New World hath wrought! . . . Just look! (She gestures with bitter dis- gust.) There he is! Monsieur le petit bourgeois noir—himself! There he is—Symbol of a Rising Class! Entrepreneur! Titan of
the system! (WALTER ignores her completely and continues frantically and destructively looking for something and hurling things to floor and tearing things out of their place in his search. BENEATHA ignores the eccentricity of his actions and goes on with the monologue of insult.) Did you dream of
yachts on Lake Michigan, Brother? Did you see yourself on
that Great Day sitting down at the Conference Table, sur- rounded by all the mighty bald-headed men in America? All halted, waiting, breathless, waiting for your pronouncements
on industry? Waiting for you—Chairman of the Board! (WAL- TER finds what he is looking for—a small piece of white pa- per—and pushes it in his pocket and puts on his coat and rushes out without ever having looked at her. She shouts after him.) I look at you and I see the final triumph of stupidity in
the world!
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The door slams and she returns to just sitting again. RUTH comes quickly out of MAMA'S room.
RUTH: Who was that?
BENEATHA: Your husband.
RUTH: Where did he go?
BENEATHA: Who knows—maybe he has an appointment at U.S. Steel.
RUTH (anxiously, with frightened eyes): You didn't say nothing
bad to him, did you?
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!
MAMA enters from her bedroom. She is lost, vague, trying to catch hold, to make some sense of her former command of the world, but it still eludes her. A sense of waste overwhelms her gait; a measure of apology rides on her shoulders. She goes to her plant, which has remained on the table, looks at it, picks it up and takes it to the window sill and sits it outside, and she stands and looks
at it a long moment. Then she closes the window, straightens her body with effort and turns around to her children.
MAMA: Well—ain't it a mess in here, though? (a false cheerfulness, a beginning of something) I guess we all better stop moping around and get some work done. All this unpacking and every- thing we got to do. ("RUTH raises her head slowly in response to the sense of the line; and BENEATHA in similar manner turns very slowly to look at her mother.) One of you all better call the moving people and tell 'em not to come.
RUTH: Tell 'em not to come?
MAMA: Of course, baby. Ain't no need in 'em coming all the way here and having to go back. They charges for that too. (She sits down, fingers to her brow, thinking.) Lord, ever since I was a
little girl, I always remembers people saying, "Lena —Lena Eggleston, you aims too high all the time. You needs to slow
down and see life a little more like it is. Just slow down some." That's what they always used to say down home —"Lord, that Lena Eggleston is a high-minded thing. She'll get her due one
day!"
RUTH: No, Lena . . .
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MAMA: Me and Big Walter just didn't never learn right.
RUTH: Lena, no! We gotta go. Bennie—tell her . . . (She rises and crosses to BENEATHA with her arms outstretched. BENEATHA doesn't respond.) Tell her we can still move . . . the notes ai
but a hundred and twenty-five a month. We got four grown people in this house—we can work . . .
MAMA (to herself): Just aimed too high all the time—
RUTH (turning and going to MAMA fast—the words pouring out with urgency and desperation): Lena—I'll work . . . I'll work twenty hours a day in all the kitchens in Chicago . . . I'll strap
my baby on my back if I have to and scrub all the floors in America and wash all the sheets in America if I have to—but
we got to MOVE! We got to get OUT OF HERE!!
MAMA reaches out absently and pats RUTH'S hand.
MAMA: No—I sees things differently now. Been thinking 'bout some of the things we could do to fix this place up some. I seen
a second-hand bureau over on Maxwell Street just the other day that could fit right there. (She points to where the new furniture might go. RUTH wanders away from her.) Would need some
new handles on it and then a little varnish and it look like some- thing brand-new. And—we can put up them new curtains in the kitchen . . . Why this place be looking fine. Cheer us all up s
that we forget trouble ever come ... (to RUTHJ And you could
get some nice screens to put up in your room round the baby's bassinet. . . (She looks at both of them, pleadingly.) Sometimes you just got to know when to give up some things . . . and ho
on to what you got. . .
WALTER enters from the outside, looking spent and leaning against the door, his coat hanging from him.
MAMA: Where you been, son?
WALTER (breathing hard): Made a call.
MAMA: To who, son?
WALTER: To The Man. (He heads for his room.)
MAMA: What man, baby?
WALTER (stops in the door): The Man, Mama. Don't you know who The Man is?
RUTH: Walter Lee?
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WALTER: The Man. Like the guys in the streets say—The Man. Captain Boss—Mistuh Charley . . . Old Cap'n Please Mr. Boss- man . . .
BENEATHA (suddenly): Lindner!
WALTER: That's right! That's good. I told him to come right over. BENEATHA (fiercely y understanding): For what? What do you want to see him for!
WALTER (looking at his sister): We going to do business with him. MAMA: What you talking 'bout, son?
WALTER: Talking 'bout life, Mama. You all always telling me to see life like it is. Well—I laid in there on my back today . . . and
I figured it out. Life just like it is. Who gets and who don't
(He sits down with his coat on and laughs.) Mama, you know
it's all divided up. Life is. Sure enough. Between the takers and the "tooken." (He laughs.) I've figured it out finally. (He looks around at them.) Yeah. Some of us always getting "tooken." (He laughs.) People like Willy Harris, they don't never get "tooken." And you know why the rest of us do? 'Cause we all mixed up. Mixed up bad. We get to looking 'round for the rig
and the wrong; and we worry about it and cry about it and stay up nights trying to figure out 'bout the wrong and the right of things all the time . . . And all the time, man, them takers i
there operating, just taking and taking. Willy Harris? Sh
Willy Harris don't even count. He don't even count in the big scheme of things. But I'll say one thing for old Willy Harris
he's taught me something. He's taught me to keep my eye on what counts in this world. Yeah—(shouting out a little.) Thanks, Willy!
RUTH: What did you call that man for, Walter Lee?
WALTER: Called him to tell him to come on over to the show. Gonna put on a show for the man. Just what he wants to
You see, Mama, the man came here today and he told us that them people out there where you want us to move—well they so upset they willing to pay us not to move! (He laughs again.) And—and oh, Mama—you would of been proud of the way me and Ruth and Bennie acted. We told him to get out.
have mercy! We told the man to get out! Oh, we was some proud folks this afternoon, yeah. (He lights a cigarette.) We
were still full of that old-time stuff. . .
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RUTH (coming toward him slowly): You talking 'bout taking them people's money to keep us from moving in that house? WALTER: I ain't just talking 'bout it, baby—I'm telling you that's what's going to happen!
BENEATHA: Oh, God! Where is the bottom! Where is the real hon- est-to-God bottom so he can't go any farther!
WALTER: See—that's the old stuff. You and that boy that was here today. You all want everybody to carry a flag and a spear and sing some marching songs, huh? You wanna spend your life looking into things and trying to find the right and the wrong part, huh? Yeah. You know what's going to happen to that boy someday—he'll find himself sitting in a dungeon, locked in for-
ever—and the takers will have the key! Forget it, baby! There
ain't no causes—there ain't nothing but taking in this world,
and he who takes most is smartest—and it don't make a damn
bit of difference how.
MAMA: You making something inside me cry, son. Some awful pain inside me.
WALTER: Don't cry, Mama. Understand. That white man is going
to walk in that door able to write checks for more money than
we ever had. It's important to him and I'm going to help him . .
I'm going to put on the show, Mama.
MAMA: Son—I come from five generations of people who was slaves and sharecroppers —but ain't nobody in my family never let rjobody pay 'em no money that was a way of telling us we wasn't fit to walk the earth. We ain't never been that poor. (raising her eyes and looking at him) We ain't never been that—dead inside.
BENEATHA: Well—we are dead now. All the talk about dreams and sunlight that goes on in this house. It's all dead now. WALTER: What's the matter with you all! I didn't make this world! It was give to me this way! Hell, yes, I want me some yachts someday! Yes, I want to hang some real pearls 'round my wife's neck. Ain't she supposed to wear no pearls? Somebody tell me —tell me, who decides which women is suppose to wear pearls in this world. I tell you I am a man —and I think my wife should wear some pearls in this world!
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the room. The word "Man" has penetrated his consciousness; he mumbles it to himself repeatedly between strange agitated pauses as he moves about.
MAMA: Baby, how you going to feel on the inside?
WALTER: Fine! . . . Going to feel fine ... a man . . .
MAMA: You won't have nothing left then, Walter Lee.
WALTER (coming to her): I'm going to feel fine, Mama. I'm going
to look that son-of-a-bitch in the eyes and say—(He falters.) —and say, "All right, Mr. Lindner—(He falters even more.) —
that's your neighborhood out there! You got the right to keep
it like you want! You got the right to have it like you want! Just write the check and—the house is yours." And—and I am going
to say—(His voice almost breaks.) "And you—you people just
put the money in my hand and you won't have to live next to
this bunch of stinking niggers! . . ." (He straightens
moves away from his mother, walking around the room.) And maybe—maybe I'll just get down on my black knees . . . (He
does so; RUTH and BENNIE and MAMA watch him in frozen hor- ror.) "Captain, Mistuh, Bossman —(groveling and grinning and wringing his hands in profoundly anguished imitation of the
slow-witted movie stereotype.) A-hee-hee-hee! Oh, yassuh boss! Yasssssuh! Great white! —(Voice breaking, he forces himself to go on.) —Father, just gi' ussen de money, fo' God's sake, and
we's—we's ain't gwine come out deh and dirty up yo' white
folks neighborhood ..." (He breaks down completely.) An
I'll feel fine! Fine! FINE! (He gets up and goes into the bed- room.)
BENEATHA: That is not a man. That is nothing but a toothless rat. MAMA: Yes —death done come in this here house. (She is nodding, slowly, reflectively.) Done come walking in my house on the
lips of my children. You what supposed to be my beginning again. You—what supposed to be my harvest, (to BENEATHAJ You—you mourning your brother?
BENEATHA: He's no brother of mine.
MAMA: What you say?
BENEATHA: I said that that individual in that room is no brother
of mine.
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than he is today? (BENEATHA does not answer.) Yes? What you
tell him a minute ago? That he wasn't a man? Yes? You give
him up for me? You done wrote his epitaph too—like the rest
of the world? Well, who give you the privilege?
BENEATHA: Be on my side for once! You saw what he just did, Mama! You saw him—down on his knees. Wasn't it you who taught me to despise any man who would do that? Do what he's going to do?
MAMA: Yes—I taught you that. Me and your daddy. But I thought
I taught you something else too ... I thought I taught
love him.
BENEATHA: Love him? There is nothing left to love.
MAMA: There is always something left to love. And if you ain't learned that, you ain't learned nothing. (Looking at her.) Have
you cried for that boy today? I don't mean for yourself and for
the family 'cause we lost the money. I mean for him: what he
been through and what it done to him. Child, when do you
think is the time to love somebody the most? When they done good and made things easy for everybody? Well, then, you ain't through learning—because that ain't the time at all. It's when
he's at his lowest and can't believe in hisself 'cause the world
done whipped him so! When you starts measuring somebody, measure him right, child, measure him right. Make sure you
done taken into account what hills and valleys he come through before he got to wherever he is.
TRAVIS bursts into the room at the end of the speech, leaving the door open.
TRAVIS: Grandmama —the moving men are downstairs! The truck just pulled up.
MAMA (turning and looking at him): Are they, baby? They down- stairs?
She sighs and sits. LINDNER appears in the doorway. He peers in and knocks lightly, to gain attention, and comes in. All turn to look at him.
LINDNER (hat and briefcase in hand): Uh—hello . . .
RUTH crosses mechanically to the bedroom door and opens it and lets it swing open freely and slowly as the lights come up on
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WALTER within, still in his coat, sitting at the far corner of the room. He looks up and out though the room to LINDNER. RUTH: He's here. (A long minute passes and WALTER slowly gets up.)
LINDNER (coming to the table with efficiency, putting his briefcase on the table and starting to unfold papers and unscrew fountain pens): Well, I certainly was glad to hear from you people. (WAL- TER has begun the trek out of the room, slowly and awkwardly, rather like a small boy, passing the back of his sleeve across his mouth from time to time.) Life can really be so much simpler than people let it be most of the time. Well—with whom do I negotiate? You, Mrs. Younger, or your son here? (MAMA sits
with her hands folded on her lap and her eyes closed as WALTER advances. TRAVIS goes closer to LINDNER and looks at the papers curiously.) Just some official papers, sonny.
RUTH: Travis, you go downstairs—
MAMA (opening her eyes and looking into WALTER'S,): No. Travis, you stay right here. And you make him understand what you doing, Walter Lee. You teach him good. Like Willy Harris
taught you. You show where our five generations done come to. (WALTER looks from her to the boy, who grins at him inno- cently.) Go ahead, son —(She folds her hands and closes her eyes.) Go ahead.
WALTER (at last crosses to LINDNER, who is reviewing the contract: Well, Mr. Lindner. (BENEATHA turns away.) We called you—(There is a profound, simple groping quality in hi speech.) —
because, well, me and my family (He looks around and shifts from one foot to the other.) Well—we are very plain people . . . LINDNER: Yes—
WALTER: I mean—I have worked as a chauffeur most of my life—and my wife here, she does domestic work in people's kitchens. So does my mother. I mean—we are plain people . . . LINDNER: Yes, Mr. Younger—
WALTER (really like a small boy, looking down at his shoes and then up at the man): And—uh—well, my father, well, he was a laborer most of his life . . .
LINDNER (absolutely confused): Uh, yes—yes, I understand. (He turns back to the contract.)
WALTER (a beat, staring at him): And my father—(with sudden 574
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intensity) My father almost beat a man to death once because this man called him a bad name or something, you know what
I mean?
LINDNER (looking up, frozen): No, no, I'm afraid I don't—WALTER (A beat. The tension hangs; then WALTER steps back from it.): Yeah. Well—what I mean is that we come from people
who had a lot of pride. I mean—we are very proud people. And that's my sister over there and she's going to be a doctor—and we are very proud—
LINDNER: Well—I am sure that is very nice, but—
WALTER: What I am telling you is that we called you over here to tell you that we are very proud and that this —(signaling to TRAVISJ Travis, come here. ("TRAVIS crosses and WALTER draws him before him facing the man.) This is my son, and he makes
the sixth generation our family in this country. And we have all thought about your offer—
LINDNER: Well, good . . . good —
WALTER: And we have decided to move into our house because my father—my father—he earned it for us brick by brick. (MAMA has her eyes closed and is rocking back and forth as though she were in church, with her head nodding the Amen yes.) We don't want to make no trouble for nobody or fight no causes, and we will try to be good neighbors. And that's all we got to say about that. (He looks the man absolutely in the eyes.) We don't want your money. (He turns and walks away.) LINDNER: (looking around at all of them): I take it then—that you have decided to occupy . . .
BENEATHA: That's what the man said.
LINDNER (to MAMA in her reverie): Then I would like to appeal
to you, Mrs. Younger. You are older and wiser and understand things better I am sure . . .
MAMA: I am afraid you don't understand. My son said we was going to move and there ain't nothing left for me to say. (briskly) You know how these young folks is nowadays, mister. Can't do
a thing with 'em! (As he opens his mouth, she rises.) Good-
bye.
LINDNER (folding up his materials): Well —if you are that final about it... there is nothing left for me to say. (He finishes,
almost ignored by the family, who are concentrating on WALTER 575
A RAISIN IN THE SUN Act HI
LEE. At the door LINDNER halts and looks around.) I sure hope
you people know what you're getting into. (He shakes his head and exits.)
RUTH (looking around and coming to life): Well, for God's sake—
if the moving men are here-LET'S GET THE HELL OUT OF
HERE!
MAMA (into action): Ain't it the truth! Look at all this here mess. Ruth, put Travis' good jacket on him . . . Walter Lee, fix your
tie and tuck your shirt in, you look like somebody's hoodlum!
Lord have mercy, where is my plant? (She flies to get it amid
the general bustling of the family, who are deliberately trying to ignore the nobility of the past moment.) You all start on down
. . . Travis child, don't go empty-handed . . . Ruth, where did I
put that box with my skillets in it? I want to be in charge of it myself. . . I'm going to make us the biggest dinner we ever ate tonight. . . Beneatha, what's the matter with them stockings?
Pull them things up, girl. . .
The family starts to file out as two moving men appear and begin to carry out the heavier pieces of furniture, bumping into the family as they move about.
BENEATHA: Mama, Asagai asked me to marry him today and go
to Africa—
MAMA (in the middle of her getting-ready activity): He did? You ain't old enough to marry nobody—(seeing the moving men lift- ing one of her chairs precariously) Darling, that ain't no bale
of cotton, please handle it so we can sit in it again! I had that
chair twenty-five years ...
The movers sigh with exasperation and go on wi their work. BENEATHA (girlishly and unreasonably trying to pursue the con- versation): To go to Africa, Mama —be a doctor in Africa . . . MAMA (distracted): Yes, baby—
WALTER: Africa! What he want you to go to Africa for?
BENEATHA: To practice there . . .
WALTER: Girl, if you don't get all them silly ideas out your head! You better marry yourself a man with some loot. . . BENEATHA (angrily, precisely as in the first scene of the play): What have you got to do with who I marry!
WALTER: Plenty. Now I think George Murchison —
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BENEATHA: George Murchison! I wouldn't marry him if he was Adam and I was Eve!
WALTER and BENEATHA go out yelling at each other vigorously and the anger is loud and real till their voices diminish. RUTH stands
at the door and turns to MAMA and smiles knowingly.
MAMA (fixing her hat at last): Yeah—they something all right, my children . . .
RUTH: Yeah—they're something. Let's go, Lena.
MAMA (stalling, starting to look around at the house): Yes—I'm coming. Ruth—
RUTH: Yes?
MAMA (quietly, woman to woman): He finally come into his man- hood today, didn't he? Kind of like a rainbow after the rain RUTH (biting her lip lest her own pride explode in front of MAMA): Yes, Lena.
WALTER'S voice calls for them raucously.
WALTER (off stage): Y'all come on! These people charges by the hour, you know!
MAMA (waving RUTH out vaguely): All right, honey—go on down.
I be down directly.
RUTH hesitates, then exits. MAMA stands, at last alone in the living room, her plant on the tabl 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.
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