Nelson Chang (Period 2)

Cindy Wang (Period 2)

Tiffany Ip (Period 3)

Clark Chen (Period 5)

Raisin in the Sun Group 6

Character: Beneatha Younger

Beneatha Younger, the younger sister of Walter Younger, is twenty years old with thick

hair on her head. Although she is not as pretty as Ruth, her sister-in-law, she has a face that

“has a handsomeness of its own” (Diyanni 1462). Her choice of dress is conspicuously

modern. However, she is interested in wearing the traditional Nigerian clothing, given to her

by Asagai. In contrast to the rest of her family, she has an educated speech; however, there

is still some trace of Southern influences as since she has a “transformed use of vowels”

(Diyanni 1462). At different points in the story, Walter says, “You a horrible-looking chick at

this hour” (Diyanni 1877), Ruth says “He and Bennie was at it again” (Diyanni 1879), and

Lena says “My children and they tempers” (Diyanni 1879). This shows a contrast in

Beneatha’s language to that of her family’s. Her name Beneatha also suggests her

personality. It shows how she considers everyone to be beneath her.

Also, Beneatha has an affinity for trying new things and activities. For example, at the

beginning of the play, she walks out to attend guitar lessons, but Ruth and Lena mention

that before, she had joined a “play-acting group” (Diyanni 1468) and the year before that,

she had bought a riding helmet to go horseback riding. When Lena and Ruth criticize her, she

exclaims indignantly “I don’t flit! I – I experiment with different forms of expression…people

have to express themselves one way or another” (Diyanni 1469). Therefore, it shows that

she has an attraction for life. Also, Beneatha assumes that life is a circle and that it will

constantly repeat itself.

The relationship between Beneatha and Ruth is one of contrast. Ruth is more mature

and realistic than the younger woman. Also, Beneatha is more modern than her sister-in-law.

She cares about the things of the world while Ruth thinks more about the house. Also, Ruth

treats Beneatha as a young child. She calls her a “little girl” (Diyanni 1471) and also refers to

her as “Bennie.” Therefore, this shows that Beneatha is occasionally treated as a young child

by her family, and not only Ruth.

There is also much to see by the way Beneatha interacts with her older brother, Walter.

At the beginning of the play, the initial relationship between Walter and Beneatha is

antagonistic. Walter states that Beneatha walks around “acting holy” (Diyanni 1878). This

negative relationship only escalates in Act III when the family discovers that the money has

been lost. Beneatha yells at Walter, stating that “he’s no brother of [hers]” (Diyanni 1518).

When Lena chides her daughter, telling her that she should love her brother, Beneatha

retorts, “Love him? There is nothing left to love” (Diyanni 1518). However, once the family

realizes that they will move, they fall back into a familiar pattern. The bickering that ensues

is similar to that of the beginning of the play.

Beneath does not share many of the opinions as her family members. For example, she

values money in a different way from her family. While her family members view money as

an important aspect of life, thinking that “money is life” (Diyanni 1481), Beneatha believes

that other things are more important. When Walter becomes so excited about the insurance

money that he believes will be theirs, Beneatha tells him that it is not theirs. The money

belongs to their mother. She states “I don’t care if she wants to buy a house or a rocket ship

or just nail it up somewhere and look at it. It’s hers. Not ours – hers” (Diyanni 1463).

However, we see in the end that she changes as she says, “[the money] belonged to all of us.”

In the case of George Murchison, Walter, Ruth, and even Lena believe that she should marry

this man because of his wealth (Lena later changes her mind and supports her daughter’s

viewpoint). However, Beneatha calls him shallow, believing that he and his family are

“snobbish” (Diyanni 1470). This shows that she values her feelings and ideals over money

and wealth, which is one of the reasons why she is attracted to Asagai.

Also unlike many other people that she comes into contact with, Beneatha believes that

education serves to help her think. However while having a conversation with George, we

learn that he believes that education is only to get a degree. “[People] read books – to learn

facts – to get grades – to pass the course – to get a degree” (Diyanni 1493). For Beneatha,

education is for thinking and developing one’s individuality; however, George believes that it

is for money and success.

Throughout the story, Beneatha always wants to become a doctor. Even though

members of her family, particularly her brother Walter, do not approve of her career goal,

she still aspires to follow her dream. She believes that “truly being God” meant “[fixing

someone] up – [sewing] up the problem, [making] him all right again. That was the most

marvelous thing in the world” (Diyanni 1512). However, later, her dream is put on hold by

the discovery that Walter had lost the money. At this point, she says “No- I wanted to cure. It

used to be so important to me. I wanted to cure. It used to matter. I used to care. I mean

about people and how their bodies hurt” (Diyanni 1512). In the end, Asagai asks her to move

to Africa with him to become a doctor.

She also believes that she has the right to choose her own life, retorting to Walter,

“What have you got to do with who I marry?” (Diyanni 1520). However, even though she

says this, this is ironic because there is male dominance in Beneatha’s life. She acts

differently with each of the males in her life. For example, she will argue with Walter and call

George a snob, but when Asagai calls her Alaiyo, meaning “One for Whom Bread – Food Is

Not Enough” (Diyanni 1477), she accepts it. Also, although she looks up to Asagai, when

George tells her that the Nigerian clothing and her hair don’t look good, she changes into a

modern cocktail dress and earrings.

Also, Beneatha has differing views of religion than her family, particularly her mother.

She states that she is “tired of hearing about God all the time” because he doesn’t do

anything for her. After all, he does not “pay tuition” (Diyanni 1470). However, even though

she is somewhat of a free spirit, resolutely stating that “God is just one idea [she doesn’t]

accept” (Diyanni 1470), she still listens to her mother when commanded. When Lena states

that she must repeat “in my mother’s house there is still God” (Diyanni 1470), Beneatha,

albeit somewhat reluctantly, repeats the statement. This shows that Beneatha is still under

the control of her mother. However, even though they have differing views on many topics,

Lena is still supportive of Beneatha, and Beneatha is still respectful. Lena tries to stand

behind Beneatha’s beliefs, as when she talks to Asagai about how “American Negroes don’t

know nothing about Africa ‘cept Tarzan” and how the money should be going to African to

“drive out…[the] French and Englishmen” (Diyanni 1476) from the country. This is shown

when Beneatha says, “Thank you…For understanding me this time” (pg1494).

Lastly, we can see much of Beneatha’s character through her relationship with Mrs.

Johnson, their nosy neighbor. Mrs. Johnson thinks Beneatha is impolite, proud, and rude, as

seen from the quote: “I know – but sometimes she act like ain’t got time to pass the time of

day with nobody ain’t been to college…’Course I can understand how she must be proud and

everything – being the only one in the family to make something of herself” (Diyanni 1496).

Beneatha’s own attitude toward Mrs. Johnson is also negative. She states, “Mama, if there

are two things we, as a people, have got to overcome, one is the Klu Klux Klan – and the

other is Mrs. Johnson” (Diyanni 1497). The obstacle before was the Klu Klux Klan, however,

the obstacle now is people like Mrs. Johnson who look down upon others.

QUOTES

BENEATHA (her face in her hands. She is still fighting the urge to go back to bed): Really –

would you suggest dawn? Where’s the paper? (Diyanni 1462)

This begins the bickering between Walter and Beneatha. This is the initial indication that

Beneatha asserts her independence as she turn’s Walter’s comment into a “slippery slope.”

Walter’s comment “You should get up earlier” is refuted with “Would you suggest dawn?”

BENEATHA (in the same spirit): Lovely. Lovely. And you know, biology is the greatest.

(Looking up at him) I dissected something that looked just like you yesterday. (Diyanni 1462)

“You” refers to Walter. This alludes to Beneatha’s goal in education. At this point in the play,

we do not yet know that she is training to become a doctor. However, through this comment,

we see that she is participating in higher-education classes.

BENEATHA (gaining in sharpness and impatience): And what did I answer yesterday

morning – and the day before that? (Diyanni 1463)

Her tone suggests that this is an argument that has been going on for some time. She is

obviously tired of the opposition that she faces.

BENEATHA (dropping to her knees): Well – I do – all right? – thank everybody! And forgive

me for ever wanting to be anything at all! (Pursuing him on her knees across the floor)

FORGIVE ME, FORGIVE ME, FORGIVE ME! (Diyanni 1463)

This is in response to Walter’s comment that implies that she should “get on [her] knees and

say thank you.” By dropping on her knees and emphasizing each word, this shows how she

expresses herself verbally and physically in an overly dramatic way.

BENEATHA: So what? He was mine, too – and Travis’ grandfather – but the insurance money

belongs to Mama. Picking on me is not going to make her give it to you to invest in any

liquor stores – (Under breath, dropping into a chair) – and I for one say, God bless Mama for

that! (Diyanni 1464)

Beneatha defends herself. Unlike a “typical woman” in that time period, she is very

straightforward and blunt. This also shows her view of money as she believes the “insurance

money belongs to Mama.” Through her use of “God bless Mama,” this shows how she is still

tied to the family’s belief in God.

BENEATHA: You – you are a nut. Thee is mad, boy. (Diyanni 1464)

She is demeaning Walter by calling him “boy.” This shows that the relationship between the

two characters is antagonistic. By using the word “thee,” she tries to sound superior to her

brother. This is also a reference to the biblical foundation upon which her family is built on.

BENEATHA: What could be so dirty on that woman’s rugs that she has to vacuum them every

single day? (Diyanni 1468)

She doesn’t see the need to cover them up. Her attitude toward cleaning also indicates how

she does not believe that a woman’s place is in the house.

BENEATHA (sharply): I just want to learn to play the guitar. Is there anything wrong with that?

(Diyanni 1468)

Beneatha is liberal in her time period. It asserts her independence as she says “is there

anything wrong with that.” She stands up for her beliefs and for herself. She does not feel as

though there is anything wrong with her actions.

BENEATHA (angrily): Me! Don’t worry – I don’t expect you to understand. (Diyanni 1469)

This quote shows her differences from other people. She is more educated than those in her

family and she does not hide it.

BENEATHA: You wouldn’t even begin to understand. Anybody who married Walter could not

possibly understand. (Diyanni 1469)

This is insulting toward Ruth. As she says “anybody who married Walter” this is just another

indication of the relationship between Beneatha and Walter. She looks down on her brother.

BENEATHA (wearily): Oh, I just mean I couldn’t ever really be serious about George. He’s –

he’s so shallow.” (Diyanni 1469)

This shows her values. She doesn’t believe in people who look for qualities only skin deep.

When Ruth states that he is rich, Beneatha is indifferent toward this information.

BENEATHA: Oh, Mama – The Murchisons are honest-to-God-real-live-rich colored people,

and the only people in the world who are more snobbish than rich white people are rich

colored people. I thought everybody knew that. I’ve met Mrs. Murchison. She’s a scene!

(Diyanni 1470)

This is her view of money. After she pauses after “Oh, Mama,” this shows her exasperation

toward her mother because she does not understand why Beneatha cannot stand George.

Her pauses emphasize her point. This is rhetorical effect.

BENEATHA: Get over it? What are you talking about, Ruth? Listen, I’m going to be a doctor.

I’m not worried about who I’m going to marry yet – if I ever get married.” (Diyanni 1470)

Her statement “I’m going to be a doctor” shows her determination to follow her dream. Her

quote “if I ever get married” asserts her independence. She believes that she will never have

to be tied down to a man.

BENEATHA: “Mama, you don’t understand. It’s all a matter of ideas, and God is just one idea

I don’t accept.” (Diyanni 1470)

Her views on God show how to her, God is not real, but rather, He is just an idea. This shows

her break from society.

BENEATHA: “Yes, ma’am.” (Diyanni 1471)

There is a change in her speech. Rather than referring to her mother as “Mama,” she calls

her “ma’am.” This shows how she has been subdued by her mother’s command to repeat

her belief.

BENEATHA: I see. (Quietly) I also see that everybody thinks it’s all right for Mama to be a

tyrant. But all the tyranny in the world will never put a God in the heavens! (Diyanni 1471)

The last sentence shows her stubbornness as she is unwilling to believe that she might be

wrong. “All the tyranny in the world” refers to Mama, and she says that no matter how much

Mama may enforce the idea upon her, she will not accept it for herself.

BENEATHA: Brother, where did Ruth go? (Diyanni 1472)

This is the first time in the play that Beneatha addresses Walter in a non-antagonistic tone.

She shows concern for Ruth.

BENEATHA: Set fire to this building! (Diyanni 1472)

This is sarcastic and dramatic speech. This also shows how much Beneatha is tired of living in

the same, old apartment.

BENEATHA: Asagai, Joseph. Ah-sah-guy…He’s from Nigeria. (Diyanni 1473)

This shows how she has to be explicit in all that she says. Also, she puts special emphasis on

the fact that he is from Nigeria. This shows how she takes pride in knowing someone from

out of the country.

BENEATHA: No, Mama – that’s Liberia. (Diyanni 1473)

This comment is demeaning toward her mother. She looks down upon her mother and other

family members who are not educated.

BENEATHA: Well, do me a favor and don’t ask him a whole lot of ignorant questions about

Africans. I mean, do they wear clothes and all that – (Diyanni 1473)

This shows how she is somewhat embarrassed by her family. She doesn’t want them to

embarrass her in front of Asagai by asking irrelevant and “ignorant questions.”

BENEATHA: You mean save them from heathenism – (Diyanni 1473)

Beneatha knows how religious Mama is. However, she still does not believe in what Mama

does for the church, by “[giving] money at church for missionary work.”

BENEATHA: You pregnant? (Diyanni 1473)

This shows how Beneatha is blunt in asking her questions. Her mother implies and hints

towards her belief that Ruth may be pregnant, but Beneatha asks the questions straight out.

This indicates the differences between the modern generation and the traditional.

BENEATHA (holding the door open and regarding him with pleasure): Hello…(Long Pause)

Well – come in. And please excuse everything. My mother was very upset about my letting

anyone come here with the place like this. (Diyanni 1474)

The way that she says “my mother” is of a lighthearted tone. She doesn’t take into

consideration her mother’s ideas. However, she is extremely polite toward Asagai, treating

him with more respect compared to her level of respect toward her family members. This

only shows exactly high she holds Asagai.

BENEATHA: Oh, Asagai!...You got them for me!...How beautiful…and the records too!

(Diyanni 1475)

This shows how she is completely won over by Asagai. However, even though she is wooed

by him, she will still stand up for herself. When Asagai comments on her “mutilated hair,”

she states indignantly “It’s not mutilation!” Also, as he is teasing her, she does not laugh

along. She manages to maintain her dignity.

BENEATHA: I know – because that’s what it says in all the novels that men write. But it isn’t.

Go ahead and laugh – but I’m not interested in being someone’s little episode in America

or – (with feminine vengeance) – one of them! That’s funny as hell, huh!” (Diyanni 1476)

This shows how she is not willing to be used. She is assertive and independent, using the

statement “That’s funny as hell.” At that point, such language as this was considered

unacceptable by many people. However, she is breaking away from the original mold created

for women.

ASAGAI: No – really it is difficult…(Thinking) It means…it means One for Whom Bread –

Food – Is Not Enough (He looks at her) Is that all right?

BENEATHA (understanding, softly): Thank you (Diyanni 1477)

This shows how Beneatha is willing to take criticism from Asagai but not from anyone else in

the family. Through this quote from Asagai, it shows how Beneatha is constantly seeking

new information, never content with what she has.

TRAVIS: What’s the matter, girl, you cracking up?

BENEATHA: Shut up. (Diyanni 1477)

This shows how Beneatha is disrespectful even toward the youngest member of the family.

However, this quote also shows the relationship between the two characters. Travis also

does not treat Beneatha with respect, calling her “girl” even though she is his aunt.

GEORGE: What have you done to your head – I mean your hair!

BENEATHA: Nothing – except cut it off (Diyanni 1485)

This reaffirms her independence but influence from Asagai. After he comments on her

“mutilated hair,” she changes her hair to better suit him. Even though George may not

appreciate her ideals, Beneatha does not care much for him. Therefore, in replying to his

comment, she is blunt and indifferent.

BENEATHA: Because I hate assimilationist Negroes! (Diyanni 1485)

This shows how Beneatha does not appreciate those who do not assert their independence

but rather follow the dominant culture. She says this in response to Ruth’s question “why

must you and your brother make an argument out of everything people say?”

BENEATHA: GRASS HUTS! See there…you standing there in your splendid ignorance talking

about people who were the first to smelt iron on the face of the earth! The Ashanti were

performing surgical operations when the English…were still tattooing themselves with blue

dragons! (Diyanni 1485)

This only reaffirms how Beneatha does not agree with the assimilationists. For many years,

the English were considered to be the superior race. However, with this statement, she is

showing how the Africans were a more highly advanced culture while the English were still

developing.

BENEATHA (laughing to herself): I guess I always think things have more emphasis if they are

big, somehow. (Diyanni 1500)

This describes her character. It shows how she likes to exaggerate and overemphasize many

ideas.

BENEATHA (drily): Yes – and what do they do? […] Yes – and what are some of those? […]

This, friends, is the Welcoming Committee! (Diyanni 1502-1504)

Beneatha interjects Mr. Lindner as he tries to explain the “welcoming committee’s” visit in a

roundabout way. She is being blunt and forcing him to explicitly state the reason for his

coming. Also, the last statement is said with a bitter and sarcastic tone in response to Mr.

Lindner’s offer to the family. It embodies her attitude toward the attempt of the white

residents at Clybourne Park to keep the Younger family from moving in. It is only through

this quote that the true purpose of the Welcoming Committee is revealed.

BENEATHA: Oh – Mama – they don’t do it like that anymore. He talked Brotherhood. He said

everybody ought to learn how to sit down and hate each other with good Christian

fellowship. (Diyanni 1505)

This is ironic because in “good Christian fellowship,” people are supposed to love each other

rather than “hate each other.” It also hints toward Beneatha’s character as since she is

making light the situation.

BENEATHA: Mama, you going to take that to the new house? […] That raggedy – old thingy?

(Diyanni 1506)

With the emphasis on the word “that” and by calling it a “raggedy-old thingy,” Beneatha is

not willing to bring something from her old life to her new life. It follows with the extended

metaphor regarding plant which represents their old life and dreams.

BENEATHA (giggling fiercely): Travis – we were trying to make Mama Mrs. Miniver – not

Scarlett O’Hara! (Diyanni 1507)

Here, this is one of the first times that Beneatha is shown having fun and joking around with

her family. She is willing to join in the fun with the family rather than keeping herself in a

position above them. Mrs. Miniver is a strong woman from World War II movie while

Scarlett O’Hara is a sophisticated but more domestic lady.

BENEATHA: He made an investment! With a man even Travis wouldn’t have trusted with his

most worn-our marbles. (Diyanni 1511)

This shows how Beneatha has once again put Walter into a lower position. She is extremely

angry and is looks down upon Walter’s decision. Here, she is despairing over the loss of the

money and in her eyes, her future and education.

BENEATHA: Me?… Me?… Me, I’m nothing…Me. (Diyanni 1511)

This shows how she thinks she has lost everything. Her dreams to become a doctor were her

future. However, after the loss of the money, she feels as though she cannot achieve her

dream. Through the repetition of the word “me,” her despair is evident.

BENEATHA: Asagai, while I was sleeping in that bed in there, people went out and took the

future right out of my hand! And nobody asked me, nobody consulted me – they just went

out and changed my life! (Diyanni 1512)

This is the first time that she has stated that her life is in the hands of others. Throughout

the entire play, she has asserted her independence; however, here we see that she too was

dependent upon the money. Beneatha’s tone in this quote is frustrated and angry. She has

always been one to take her future into her own hands, but with this one action of Walter’s,

everything has turned upside down for her.

BENEATHA (bitterly): Because it doesn’t seem deep enough, close enough to what ails

mankind! It was a child’s way of seeing things – or an idealist’s. (Diyanni 1512)

Here, she admits that she is an idealist. It also shows how she believes that just because she

cares, it is not enough to save mankind.

ASAGAI: Where are we all going and why are we bothering!

BENEATHA: AND YOU CANNOT ANSWER IT! (Diyanni 1513)

Asagai has said that because the money was lost, Beneatha has given up her dreams. She

wants to find the answer to the question, but even Asagai cannot answer it.

BENEATHA: The martyr! (Diyanni 1513)

This is in response to Asagai’s quote “and perhaps for it I will be butchered in my bed some

night by the servants of empire…” This quote is italicized for emphasis because Beneatha

believes that one should be ready to die for their beliefs. Therefore, through this, she is

saying it almost reverently.

BENEATHA: Bad? Say anything bad to him? No – I told him he was a sweet boy and full of

dreams and everything is strictly peachy keen, as the ofay kids say!” (Diyanni 1514)

Beneatha is sarcastic as she talks to Ruth about Walter. This shows how once again she is

looking down upon Walter.

BENEATHA: Oh, God! Where is the bottom! Where is the real honest-to-God bottom so he

can’t go any farther! […] I said that that individual in that room is no brother of mine.

(Diyanni 1516 - 1518)

Walter has just announced that he has called Mr. Lindner to “talk business.” Beneatha is

extremely angry at Walter. Now that the family has realized Walter’s plans, everyone has lost

their hope because the money was the key to their dreams. She refers to Walter as “that

individual” because it shows that she has lost respect toward her brother.

BENEATHA: Well – we are dead now. All the talk about dreams and sunlight that does on in

this house. It’s all dead now. (Diyanni 1517)

Now that all the money is gone, their dreams are gone. This is just her way of showing

despair.

BENEATHA: George Murchison! I wouldn’t marry him if he was Adam and I was Eve! (Diyanni

1520)

This shows Beneatha’s determination to marry someone with the same values as she. By

comparing George to Adam and herself to Eve, she states that even if they were the only

people on earth, she would not marry George because he is too “shallow.”

Criticism: Biographical

Lorraine Hansberry, an African American writer, was born on May 19, 1930 in the

Southside of Chicago. Growing up, Hansberry received a good education, attending

predominantly white public schools. Her other three siblings were also educated.

Hansberry’s mother was the daughter of a minister. All of Hansberry’s family members were

politically active. Both of her parents were activists; her father participated in the Republican

Party while her mother supported W.E.B. Dubois. Her brother joined the army during World

War II. Her sister married a rich journalist and both were activist for civil rights.

Her family was involved in the Hansberry vs. Lee court case, regarding their move to a

white neighborhood. When she was eight, the family moved into a predominantly white

neighborhood. Although they were faced with much hostility, the family refused to move. It

was not until a court ordered them to move out that they brought the case to the Supreme

Court. Ultimately, the decision was ruled in their favor, and the family returned to the

neighborhood. However, they still faced discrimination.

A Raisin in the Sun is based upon Hansberry’s personal experiences. It portrays her

family’s initial journey from a colored neighborhood to a predominantly white area. The play

is set in the city of Chicago, the same city that she grew up in. Both in her life and in the

story, the family is intimidated by the white citizens of the neighborhood. In the story, Mr.

Linder is the representative from the “Clybourne Park Improvement Association” (Diyanni

1502). He pays the family a visit and offers them money in order to maintain the happiness

of the neighborhood. There is also a similarity between Hansberry’s mother and Lena.

Hansberry’s mother is the daughter of a minister, and Lena is religious. The character of

Travis, the young son of Ruth and Walter, mirrors the innocence of Hansberry’s childhood.

In her life, Hansberry met Langston Hughes. His poem “Dream Deferred” is the theme

of Lorraine Hansberry’s play. The title “A Raisin in the Sun” was taken from a line in the

poem. The metaphor in the poem is expressed throughout the play. The overall tone of both

the poem and the play embody the universal theme that in life, there will be two pathways:

one to follow the wishes of society and one to follow one’s own dreams and aspirations.

Here, we see that the Younger family chooses to defy the wishes of the white community

and move into Clybourne Park. From the beginning, Lena’s dream had been to move out of

the small apartment into a bigger house. To give into the “welcoming committee’s” wishes

would be to give up their dreams and conform to society.

(Wikipedia)

Criticism: Feminism

This play takes place before the second wave of women’s rights. Therefore, there is still

no women’s suffrage and they are still fighting for their rights. Beneatha is one of the few

women who have a college education. Ruth and Lena both work in domestic areas. Ruth is a

housekeeper for another family while Lena takes cares of jobs around the apartment. They

do not have highly accomplished jobs. However, Beneatha, in contrast to her family, aspires

to become a doctor. Her brother Walter looks down upon her choice of profession. George

also shares this view. Beneatha states that George “still thinks [her being a doctor is] pretty

funny.” This shows the view of the time that many men believed that a woman’s place was

inferior to men. Women were supposed to help the men fulfill their dreams rather than tear

them down. Walter states, “A man needs a woman to back him up” (Diyanni 1361).

“However, when Walter feels as though Ruth does not appreciate his efforts, he cries, “This

is just what is wrong with the colored woman in this world.” He feels as though they “don’t

understand about building their men up,” that they are “women with small minds.” Also,

according to him, when a man says “I got me a dream,” his woman merely replies, “Eat your

eggs” (Diyanni 1461). However, when Walter asks why Ruth is always trying to “give [him]

something to eat,” she replies with “what else can I give you?” Even though men complain

that their women do not support them, in truth, women at the time had nothing to give. The

only thing they had was their ability and position in the kitchen. This shows that as men

venture out to make their own businesses, as Walter strongly desires to invest in a liquor

store, women are “supposed to” confine themselves to domestic activities. Men want to be

their own selves while women are supposed to adhere to the wishes of men. However, this

view is slowly changing through the character of Beneatha.

In this play, Beneatha embodies the view that women are beginning to assert their

independence during this time. At one point, Beneatha pulls out a cigarette. At this time in

history, smoking was considered a radical activity for women. Also, Beneatha makes a drastic

statement in saying “if I ever get married.” Women were supposed to be dependent upon

men and marriage was an important part of their lives. However, Beneatha is showing how

she does not want to be tied to a subordinate position through marriage. Women were just

beginning to see that they could live their own lives without having to depend upon a

husband to support them. Even Beneatha’s dreams to become a doctor express the growing

independence of women. This shows how they are beginning to step away from the mold

that men have put around them.

As Beneatha talks to Asagai, Asagai believes that women only need the feeling between

men and women. However, Beneatha states that it is “all [in] the novels that men write.”

Therefore, it shows how men write their views regarding women. In novels, women hold the

subordinate positions. However, Beneatha disagrees with this view. She states that she is

“not interested in being someone’s little episode in America.” This establishes her

independence and break from the subordinate position given to her. However, Asagai states

that he hears the same indignation from “every American girl” and notices that “the world’s

most liberated women are not liberated at all” because they “talk about it too much.”

George also has a subordinate view of women. He tells Beneatha to “drop the Garbo routine,”

(Diyanni 1493) which alludes to Greta Garbo. He wants her to conform to his image of a

woman. He believes that being a “nice-looking girl” Is all a girl needs. His statement that

guys are “going to go for what they see” also shows the view of men at the time. Men didn’t

want a smart girl. Rather, they preferred someone who would look good next to them and

not be an embarrassment. As George says, “I want a nice…simple…sophisticated girl…not a

poet”, it shows the types of women that men at the time wanted to marry. This is translated

into his actions toward Beneatha. Beneatha says “[George has] a beautiful car and he takes

[her] to nice places.”

However, this play also characterizes the difference between women. This is shown

through the relationship between Mrs. Johnson and Beneatha. Mrs. Johnson sees women

with an education as proud and lofty. She states that Beneatha acts as thought she doesn’t

“[have] time to pass the time of day with [anybody who didn’t] go to college.” Her tone

toward Beneatha suggests that even at this time, some women shared the view that their

gender belonged in the household rather than in the professional world. There is also a

difference between Ruth and Beneatha, whom embody the traditional and modern views of

women. Even their interaction with the male characters of the story show how the views

differ. When Beneatha is with George or Asagai, she enjoys speaking of intellectual topics

and voicing her dreams. The physical interaction between the two involves how George

“turns [Beneatha’s] head and tries to nuzzle in.” Asagai “takes her full into his arms in a kiss

which proceeds to passion.” However, with Ruth, she states that when she and Walter went

to the movies, they “held hands” and were “still holding hands” at the end of movie.

Beneatha acts as though holding hands means nothing when she tells Ruth, “you’re killing

me.”

There is also a reference to abortion in this story. Ruth goes to the doctor when she

figures out that she is pregnant. Lena is extremely opposed to the idea of Ruth receiving an

abortion. When Ruth’s tongue slips and she calls the doctor a “she,” Lena is immediately

suspicious and is even angry when she confronts Ruth. Later, when she talks to Walter, she

tells him that “Ruth is thinking ‘bout getting rid of that child.” When Ruth confirms this and

tells them that she “gave her a five-dollar down payment,” Lena waits for Walter to say

something. She wants him to say that they are “a people who give children life, not who

[destroy] them.” This shows how abortion was looked down upon by the traditional people

during this time.

Setting

“The Younger living room would be a comfortable and well-ordered room if it were not for a

number of indestructible contradictions to this state of being. Its furnishings are typical and

undistinguished and their primary feature now is that they have clearly had to accommodate

the living of too many people for too many years -- and they are tired. Still, we can see that

at some time, a time probably no longer remembered by the family (except perhaps for

Mama) the furnishings of this room were actually selected with care and love and even hope

-- and brought to this apartment and arranged with taste and pride.

That was a long time ago. Now the once loved pattern of the couch upholstery has to fight

to show itself from under acres of crocheted doilies and couch covers which have themselves

finally come to be more important than the upholstery. And here a table or a chair has been

moved to disguise the worn places in the carpet; but the carpet has fought back by showing

its weariness, with depressing uniformity, elsewhere on its surface.

Weariness has, in fact, won in this room. Everything has been polished, washed, sat on,

used, [and] scrubbed too often. All pretenses but living itself have long since vanished from

the very atmosphere of this room.

Moreover, a section of this room, for it is not really a room unto itself, though the

landlord's lease would make it seem so, slopes backward to provide a small kitchen area,

where the family prepares the meals that are eaten in the living room proper, which must

also serve as dining room. The single window that has been provided for these "two" rooms

is located in this kitchen area. The sole natural light the family may enjoy in the course of a

day is only that which fights its way through this little window.

At left, a door leads to a bedroom which is shared by Mama and her daughter, Beneatha.

At right, opposite, is a second room (which in the beginning of the life of this apartment was

probably a breakfast room) which serves as a bedroom for Walter and his wife, Ruth.”

(Diyanni 1456)

The introduction of at the beginning of Act sets up the setting of the entire play. The

living room is the most important place as it is almost the only site. Everything occurs in

the room as the family seems to always converse in that one area. The living room

represents the hope of the family as it had deteriorated over the years. Similar to their

hope, the living room used to be cared for, but now it “clearly had to accommodate the

living of too many people for too many years -- and [it is] tired.” “Weariness has, in fact,

won in this room. Everything has been polished, washed, sat on, used, [and] scrubbed too

often. All pretenses but living itself have long since vanished from the very atmosphere of

this room.” The relation is clearly evident as weariness has won and that the family merely

pretends to be living well but is clearly unhappy. “A table or a chair has been moved to

disguise the worn places” shows that they have tried to fix their lives, yet the true nature

and state of their lives always reveals itself despite their efforts. Based on a regular four

legged table and chair, we see the importance of the four as it often represented as a cycle.

The cycle here is when the Younger family attempts to fix their lives and pursue their dreams,

yet always encounters obstacles. In addition, the number four has a traditional symbolic

reference to women as we see how the story is dominated by several female characters and

very few males. “[The] carpet has fought back by showing its weariness, with depressing

uniformity.” Although they attempt to fix their lives “too often”, everything has been the

unchanging. “Everything has been polished washed, sat on, used, [and] scrubbed too

often.”

The family does not own the place as they must lease the property, showing

dependence on others. The room is constricting, like their lives, as there is virtually no

room to expand. For example, “[a] section of this room, for it is not really a room unto itself,

though the landlord's lease would make it seem so, slopes backward to provide a small

kitchen area” shows that the family is limited. After all, Ruth and Walter share a room that

was originally intended to be “a breakfast room,” Ruth and Mama share a bedroom, and

Travis sleeps on the “make-down bed” at the center of the living room. The kitchen also

relates to feminism as the women are often confined to that small area with no room to

maneuver.

“The single window that has been provided for these "two" rooms is located in this

kitchen area. The sole natural light the family…” This has great significance as it is a

metaphor for their dreams. The light is a traditional symbol for renewal of hope as the

family struggles to get to their dreams. The sole natural light shows that their hope is

diminished and that only a small light illuminates their dreams.

The time takes place after World War II, most likely in the 1960s. The 1960s was the

most predominant era for the Civil Rights Movement as we see the conflicts between black

and white people. Throughout the entire play we see how black people are looked down

upon. For example, Walter’s occupation as a chauffeur and the situation with Mr. Linder

and the white residents of Clybourne Park show that there is a clear division in society. In

addition, the time is a good indication on the progress of women as women are looked

down upon. Beneatha’s continuing dream to climb up the social ladder to become a doctor

is a continuing problem in the story as her sex presents several obstacles for her.

The actual place of the story takes place in Chicago’s Southside. Chicago was well

known for the racial riots that occurred. We can see how the environment of Chicago

represents the tension in the play as there are constant references to “firebombing.” The

author’s specific location of the Southside is an obvious allusion to being in the Deep South.

The Deep South was where blacks resided and society was divided, often being known for

unfair treatment of blacks. Similarly, Chicago Southside is an obvious display on how there

is great social segregation. The divisions are seen when the Younger family attempts to

move into Clybourne Park. “Clybourne Park? Mama, there ain’t no colored people living in

Clybourne Park.” (Diyanni 1491) The setting of the racially divided Chicago is evident as

social tensions rise.

“She crosses through the room to the window, opens it, brings in a feeble little plant

growing doggedly in a small pot in the window sill.” (Diyanni 1464) The plant is an

important symbol of setting as is represents the dreams of the family. Mama often holds

the power as her money represents the renewal of dreams. In correlation, Mama’s relation

to the plant represents the hope as the plant beings to grow. We see the importance of

the plant in the setting as she removes the plant from the light several times as hope wavers.

Aforementioned, we see the importance of cycles relating to their lives. The table and

chair represent cycles of the women and their dreams and now we see how the plant

represents hope as another cycle for it grows and decays from time to time.

When Beneatha states “what could be so dirty…that she has to vacuum…every…day,” it

revisits the idea that “everything has been polished, washed, sat on, used, [and] scrubbed on

too often.”

Scene two starts on Saturday morning. The furniture has been “shoved hither and yon”

and the walls are being washed down. “As [the family works], the radio is on and a Southside

disk-jockey program is inappropriately filling the house with a rather exotic saxophone blues.”

Through the use of the exotic saxophone music, a cheerful atmosphere is released in the

household. This is particularly evident in the actions of Beneatha and how it characterizes

her.

Also during this time, it is raining. This heightens the tension and excitement within the

family. Therefore, when “the bell sounds suddenly and sharply,” Ruth, Travis, and Mama are

stunned, “serious and silent.” The bell is a symbol for hope as its ringing signals the arrival of

the check, which for the family is hope and life.

Act Two Scene One begins later the same day. The same blues music is still playing in

the background, but Beneatha puts in a record that plays a “lovely Nigerian melody.” The

music affects the mood of the play as it causes Beneatha and Walter to begin acting as

though they were native Africans. Through this music and their exuberance, the atmosphere

of the scene shifts. The lighting suggests “the world of WALTER’S imagination” and the mood

shifts from “pure comedy” to showing the “inner WALTER.” The moment seems unreal, but

when the music shuts off and George Murchison enters the room, the mood suddenly shifts

back to reality.

Act 2 Scene 2 occurs on Friday night a few weeks later. This night contributes to the

“melodramatic” mood created by George as he attempts to seduce Beneatha. As the phone

rings, tension is built up. This is also supported by the “steamy, deep blues” music that

enters the room. All dialogue after this has somewhat of a dismal tone. However, when Lena

turns off the radio, an aura of seriousness emanates from the silence. She gives Walter

control of the remaining money and the mood becomes lighter and escalates. When the

scene blacks out, it symbolizes the end of the cycle and the scene shifts.

Scene 3 occurs on Saturday, one week later. The scene begins with Ruth singing “Oh,

Lord, I don’t feel no ways tired! Children, oh glory hallelujah!” Later, when Walter enters the

room, he and Ruth dance to a “soulful and sensuous” melody. As they are dancing, the bell

rings. Mr. Lindner brings with him an atmosphere of false joy because his “welcoming

committee” merely wants to preserve the sense of white community. After he arrives, Ruth

cuts off the music, they stop dancing, and the joy has disappeared. When Mr. Lindner leaves,

the atmosphere returns to its original state of lightheartedness. The bell rings again and

there is hope in the air with the arrival of Bobo. However, upon receiving the news that Willy

has run off with the money, depression sinks in again. There is anger as Lena beats up Walter

for giving away all the money.

The beginning of Act 3 begins with a dismal atmosphere. There is a “gray light”

permeating the room. Walter is “alone with himself” and Beneatha sits at the table “looking

off.” There is an “empty sound of profound disappointment.” When the bell rings and Asagai

enters the house, he brings with him “energy and happy expectation” in contrast to the rest

of the family. After he leaves, the mood returns to becoming depressing. Even Lena, the

strongest person in the family, begins to lose hope. For Ruth, the atmosphere is desperate as

she pleads “we got to MOVE! We got to get OUT OF HERE!!” We see that the mood is truly

desperate as Walter begins to grovel on the floor in front of an imaginary Mr. Lindner. He

enters the bedroom and stays in solitude. However, when the bedroom door opens again for

him to confront Mr. Lindner, the light shines upon Walter. This builds tension into the

atmosphere. When Walter makes the decision to move into the household, the mood begins

to lighten up again.

“RUTH hesitates, then exits. MAMA stands, at last alone in the living room, her plant on the

table before her as the lights start to come down. She looks around at all the walls and

ceilings and suddenly, despite herself, while the children call below, a great heaving thing

rises in her and she puts her fist to her mouth to stifle it, takes a final desperate look, pulls

her coat about her, pats her hat and goes out. The lights dim down. The door opens and she

comes back in, grabs her plant, and goes out for the last time.” As the light dims in the

empty room, there is a loss of hope and a completion of the cycle. When the plant is taken

from the table, it signifies a new hope. The new cycle of life starts with their move into

Clybourne Park. This change in setting allows the reader/viewer to determine the theme of

the play.

Figurative Language

Furnishings…“They have clearly had to accommodate the living of too many people for too

many years – and they are tired.” (Diyanni-4, 1456) Personification

The furnishings represent how the family has had to put off their dreams and merely live the

same tiring life for many years.

RUTH: “Mr. Johnson’ll be in there and you’ll be fussing and cussing round here like a

madman!” (Diyanni – 4, 1457) simile

This describes the character of Walter. It shows how Walter has an impatient personality.

RUTH: “No – I’m just sleepy as the devil.” (Diyanni – 4, 1457) simile

This describes Ruth’s state of mind in the morning.

BENEATHA: “And then there are all those prophets who would lead us out of the

wilderness – into the swamps!” (Diyanni-4, 1464) allusion

This is a biblical allusion to the Israelites wandering in the wilderness. After they left Egypt,

they wandered throughout the desert for forty years, led by Moses. Beneatha refers to this

event to jibe at Walter’s desire to invest in a liquor store.

RUTH: “Life can be a barrel of disappointments, sometimes.” (Diyanni-4, 1467) Metaphor

Here we see the cycle of hope and disappointment as life is full of both. In this case, we

see how disappointment is currently upsetting Ruth.

RUTH: “Fresh – just fresh as salt, this girl!”

BENEATHA: “Well – if the salt loses its savor – “ (Diyanni-4, 1468), simile/allusion

Beneatha quotes this biblical allusion as a retort to Ruth’s comment. When “salt loses its

flavor” it is useless.

BENEATHA: “[Mrs. Murchison is] a scene!” (Diyanni-4, 1470) metaphor

Beneatha uses this metaphor to describe Mrs. Murchison. It exaggerates the actions of Mrs.

Murchison as it implies that she is overly dramatic and something to watch. It also expresses

Beneatha’s opinion that rich colored people are worse than rich white people.

MAMA: “Got to admit they got spirit – Bennie and Walter. Like this little old plant that ain’t

never had enough sunshine or nothing – and look at it…” (Diyanni-4, 1471) Extended

metaphor

Beneatha and Walter are compared to the plant. The plant is the symbol of hope and

dreams for the family. Even though they encounter hardships and difficulties, they manage

to thrive through it and live, much like the plant.

MAMA “Well, little boys’ hides ain’t as tough as Southside roaches. You better get over there

behind the bureau. I seen one marching out of there like Napoleon yesterday.” (Diyanni-4,

1472) Simile

This describes the roaches in the house. By stating that one was marching “like Napoleon,”

the condition of the apartment is shown. It becomes obvious that the roaches have become

abundant in the household and the family is unable to rid them all. Napoleon was a short

but incredibly proud general. Similarly, the cockroaches are small, but they march proudly

around the house.

ASAGAI: “Well…it is true that this is not so much a profile of a Hollywood queen as perhaps a

queen of the Nile” (Diyanni-4, 1475)

He is comparing Beneatha to the queen of the Nile, which is superior to the Hollywood

queen, the materialistic flashy world.

MAMA: “This here can is empty as Jacob’s kettle.” (Diyanni-4, 1477) allusion

At Jacob’s well, a woman was going to get some water with her empty kettle. This compares

the empty can to the woman’s empty pot. The allusion comes from a story in the bible when

Jesus told a woman who was taking water from a well that only believing in Him will give the

woman “living water.”

“He holds the envelope high above his head, like a little dancer” (Diyani-4, 1478) simile

Travis’s reaction toward the arrival of the insurance money is shown through this simile. By

portraying him as “a little dancer,” the excitement is conveyed. This sentiment is also shared

with the other members of the family.

MAMA: “Something eating you up like a crazy man.” (Diyanni-4, 1480) simile

Something is bothering Walter and he becomes crazy.

MAMA: “Oh…so now it’s life. Money is life. Once upon a time freedom used to be life – now

it’s money.” (Diyanni-4, 1481) metaphor

This describes the importance that money holds in the lives of Lena’s children. There is a

historical reference to slavery with the quote “freedom used to be life,” but the metaphor

shows how society has evolved to center around money. Mama laments this change.

“She is coquettishly fanning herself with an ornate oriental fan, mistakenly more like

Butterfly than any Nigerian that ever was” (Diyanni-4, 1483) simile

This describes Beneatha’s acting. She pretends to be a Nigerian woman, as since she is

dressed up in the traditional Nigerian clothing that Asagai has given her. However, by

comparing her to Madame Butterfly, this shows how she is much too elegant. It also portrays

the incorrect view of Nigerian women that she has.

WALTER: “YEAH…AND ETHIOPIA STRETCH FORTH HER HANDS AGAIN!...” (Diyanni-4, 1483)

personification

RUTH: “Yes – and Africa sure is claiming her own tonight.” (Diyanni-4, 1483) metaphor

Ethiopia and Africa are trying to gain their influence over people.

GEORGE: “What have you done to your head – I mean your hair!” (Diyanni-4, 1485)

synecdoche

George make’s a slip of the tongue after seeing Beneatha’s hair. However, this can also been

seen as synecdoche. By asking “what have you done to your head,” he asks what ideas she

has acquired. He wonders for her state of mind.

WALTER: “I am a volcano. Bitter? Here I am a giant – surrounded by ants!” (Diyanni-4, 1487)

metaphor

Walter is mad like a volcano, something that would erupt and explode at any moment. He is

very ambitious but he is not appreciated by the people around him.

GEORGE: “Good night, Prometheus! (Diyanni-4, 1488) allusion

George is being sarcastic as he calls Walter Prometheus. Prometheus brought fire down to

mankind and as punishment, was meant to have his liver pecked out by an eagle each day.

By comparing Walter to Prometheus, George is commenting on how Walter seems to be

“punished” each day by those who do not understand him and his dreams.

RUTH: “Oh, Walter, and with your mother working like a dog every day – “ (Diyanni-4, 1497)

metaphor

This is comparing Mama to a dog, who works hard. Walter no longer cares about his job,

missing three days, however Mama is working hard to provide for the family.

BENEATHA: “Sticks and stones may break my bones but words will never hurt me.”

(Diyanni-4, 1501) metaphor/common idiom/cliché

Beneatha is extremely stubborn and doesn’t take other people’s insults well.

BENEATHA: “Thirty pieces and not a coin less!” (Diyanni-4, 1504) biblical allusion

This is a biblical allusion to Judas’s betrayal. Mr. Lindner offers to buy the Youngers’ house for

more money that it was originally worth, but Beneatha makes this bitter remark.

WALTER: “THAT MONEY IS MADE OUT OF MY FATHER’S FLESH—“ (Diyanni-4, 1510)

metaphor

Walter exclaims this in response to learning that Willy has run off with the insurance money.

The family only received this money after his father’s death. He had worked his whole life

and gave up his “flesh” for this money.

ASAGAI: “I will be butchered in my bed some night by the servants of empire…” (Diyanni-4,

1513) metaphor

Asagai compares himself to a martyr, someone who is killed for being passionate about

his/her dreams. Beneatha is somewhat compared to the “servants of empire” as someone

who is slowing him down. He offered her marriage, but she says that she must think about it,

putting off the decision until later.

BENEATHA: “Cure the Great Sore of Colonialism – […] with the Penicillin of Independence - !”

(Diyanni – 4, 1512) metaphor

The “Great Sore of Colonialism” is often seen as relying on something else. It is seen as

something negative. However, the “Penicillin of Independence” will cure colonialism. After

independence is given to the colonies, the “disease” of conforming to the beliefs of one

dominant society will be cured.

BENEATHA: “That is not a man. That is nothing but a toothless rat.” (Diyanni-4, 1517)

metaphor

This is Beneatha’s bitter description of Walter after learning that the money has been lost.

She looks down upon him more than ever, and by calling him a “toothless rat,” she implies

that he is no longer worthy to be considered her brother, but rather he is a liar and a cheat.

He took all of her money for her education and invested it in his own dreams.

MAMA: “That ain’t no bale of cotton, please handle it so we can sit in it again!” (Diyanni-4,

1520) synecdoche

Mama contrasts her chair to a “bale of cotton” to show that it is important to her.

BENEATHA: “George Murchison! I wouldn’t marry him if he was Adam and I was Eve!”

(Diyanni-4, 1520) Allusion

This shows Beneatha’s determination to marry someone with the same values as she. By

comparing George to Adam and herself to Eve, she states that even if they were the only

people on earth, she would not marry George because he is too “shallow.”

Question 5

Joseph Asagai and George Murchison serve the purpose of offering contrasting views of

life to Beneatha. Throughout the story, we often see the how each member of the family is

offered two pathways in life. Generally, these paths conflict in terms of morality and social

context. Often we see one path that conforms to society and the others that opposes it.

The path that often differs from society usually encourages the character to live a better life.

Walter attempted to open a business; however, the idea went against social norms as black

men usually did not climb the economic ladder. In a similar situation, Beneatha is

confronted between the choice of Asagai and Murchison. Murchison represents the ideal

choice as he represents what would be best. He offers wealth, yet he holds women to the

tight stereotypes of that time as he assumes Beneatha will do nothing, and “wants

[Beneatha] to cut it [moody stuff] out.” He also does not want to “discuss the nature of

‘quiet desperation’ or to hear all about [Beneatha’s] thoughts.” Although the choice might

seem logical, Murchison represents a conflicting view as Beneatha hopes to become

independent and a doctor. Asagai is more fitting as he always advocates expressionism,

something Beneatha adores. He believes that Beneatha and he “… have a great deal to talk

about. …about identity and time and all that” “About how much time one needs to know

what one feels.” We can see the closer relationship between Beneatha and Asagai as both

people attempt to engage in their cultural backgrounds to feel more complete. Similar to

Beneatha, Asagai is proud of his heritage, “Nigeria is my country. Yoruba is my tribal origin –

“Asagai and Murchison are the choices Beneatha must make to either conform to society or

be independent.

Question 10

The first stanza consists of a series of rhetorical questions. Which have similar

metaphorical meanings telling how some dreams by their own nature are unrealistic. “Does

it dry up like a raisin in the sun?” This important line from which the poem is derived,

questions the future of an unfulfilled dream. This central theme reoccurs throughout the

play as we learn of Ruth and Lena’s dream for a house, Walter’s dream for a business, and

Beneatha’s dream to become a doctor. “fester like a sore – and then run?” the dream does

not dry up entirely, so it irritates the holder until he compelled to do something. “we have

got to MOVE! We got to get OUT OF HERE!!” This is exemplified in Walter’s actions when he

took “the money made from his father’s flesh” and invested it phony business. “does it stink

like rotten meat?” the dream dying in the mind, and finally dissipates. When Walter’s dream

finally fails, his want of a business also disappears. “crust and sugar over,” literally, the dream

becomes stagnant as there is no more hope. In the play, Walter fails as he realizes that all

the money is gone. “He starts to crumple down on the floor…..ONLY Walter’s sobs reply.”

shows one can continue on. “Maybe it says like a heavy load.” shows a reoccurring part of

the play. Walter’s dream to open a business seems to bother family life as the family is

constantly torn in the arguing. “Mama, you didn’t go do something with that insurance

money, something crazy?” The “heavy load” of the unaccomplished dream is the constant

bickering of the family. In addition, Beneatha’s unfinished dream to become a doctor also

bears a “heavy load” as she bickers often with her brother over her dream. “or does it

explode,” quite literally, the dream is destructive and disappears when the dream fails is one

of the harmful possibilities for a “dream deferred”, hinting in the story that there is always

something worse that could happen.