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Biblioteka

Copy of Raisin in the Sun 9/13 (6/23/2025)

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Posljednje ažuriranje about 1 year ago
17
Who are these characters?
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Character Analysis
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Homework
Obavezno
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Challenge Writing (Quiz Grade)
Pitanje 1
1.

The check has finally arrived. Prior to this moment, what was the common obstacle faced by all members of the Younger family?

Pitanje 2
2.

Choose a character:

Wants money to achieve his/her goals

Wants to be a doctor

Wants to go into business

Wants to feel connected to his/her racial heritage

Wants to impress or fit in with people who have more money

Wants to be seen as a scholar

Wants to be allowed to express his/her individual opinions and ideas

Pitanje 11
11.

Eventually, Walter joins in with Beneatha's Dance. Which best describes how he seems to be feeling as he dances?

Pitanje 12
12.

During the dance, Walter and Beneatha seem to

Pitanje 13
13.

What does George think of Beneatha's costume? Drag two choices.

  • kind of crazy

  • beautiful

  • not appropriate

  • meaningful

  • perfect for their date

  • George thinks Beneatha's costume is...

Pitanje 14
14.

Part 1: What does Walter lie about when talking to George?

Pitanje 15
15.

Part 2: Why do you think Walter lies about this?

Mother to Son

By Langston Hughes

Well, son, I’ll tell you:

Life for me ain’t been no crystal stair.

It’s had tacks in it,

And splinters,

And boards torn up,

And places with no carpet on the floor—

Bare.

But all the time

I’se been a-climbin’ on,

And reachin’ landin’s,

And turnin’ corners,

And sometimes goin’ in the dark

Where there ain’t been no light.

So boy, don’t you turn back.

Don’t you set down on the steps’

Cause you finds it’s kinder hard.

Don’t you fall now—

For I’se still goin’, honey,

I’se still climbin’,

And life for me ain’t been no crystal stair.

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Pitanje 16
16.

Identify an obstacle face by the mother or son in the poem "Mother to Son" Describe how the character acts when faced with the obstacle. Use evidence from the text to support your response. (Use APE- should have 5-8 sentences)

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Pitanje 17
17.

Both the speaker in "Mother to Son" and Mama in A Raisin in the Sun offer advice to their children about facing challenges. Compare or contrast these characters' responses to obstacles. Use evidence from the texts to support your thinking. (Use APE- should have 5-8 sentences)

RUTH (Properly appreciating it) You get to New York a lot?

GEORGE (Offhand) Few times a year.

RUTH Oh—that’s nice. I’ve never been to New York. (WALTER enters. We feel he has relieved himself, but the edge of unreality is still with him)

WALTER New York ain’t got nothing Chicago ain’t. Just a bunch of hustling people all squeezed up together—being “Eastern.”

(He turns his face into a screw of displeasure)

GEORGE Oh—you’ve been?

80 WALTER Plenty of times.

RUTH (Shocked at the lie) Walter Lee Younger!

WALTER (Staring her down) Plenty! (Pause) What we got to drink in this house? Why don’t you offer this man some refreshment. (To GEORGE) They don’t know how to entertain people in this house, man.

GEORGE Thank you—I don’t really care for anything.

WALTER (Feeling his head; sobriety coming) Where’s Mama?

RUTH She ain’t come back yet.

WALTER (Looking MURCHISON over from head to toe, scrutinizing his carefully casual tweed sports jacket over cashmere V-neck sweater over soft eyelet shirt and tie, and soft slacks, finished off with white buckskin shoes) Why all you college boys wear them faggoty-looking white shoes?

RUTH Walter Lee!

(GEORGE MURCHISON ignores the remark)

WALTER (To RUTH) Well, they look crazy as hell—white shoes, cold as it is.

RUTH (Crushed) You have to excuse him—

WALTER No he don’t! Excuse me for what? What you always excusing me for! I’ll excuse myself when I needs to be excused! (A pause) They look as funny as them black knee socks Beneatha wears out of here all the time.

RUTH It’s the college style, Walter.

WALTER Style, hell. She looks like she got burnt legs or something!

RUTH Oh, Walter—

WALTER (An irritable mimic) Oh, Walter! Oh, Walter! (To MURCHISON) How’s your old man making out? I understand you all going to buy that big hotel on the Drive? (He finds a beer in the refrigerator, wanders over to MURCHISON, sipping and wiping his lips with the back of his hand, and straddling a chair backwards to talk to the other man) Shrewd move. Your old man is all right, man. (Tapping his head and half winking for emphasis) I mean he knows how to operate. I mean he thinks big, you know what I mean, I mean for a home, you know? But I think he’s kind of running out of ideas now. I’d like to talk to him. Listen, man, I got some plans that could turn this city upside down. I mean think like he does. Big. Invest big, gamble big, hell, lose big if you have to, you know what I mean. It’s hard to find a man on this whole Southside who understands my kind of thinking—you dig? (He scrutinizes MURCHISON again, drinks his beer, squints his eyes and leans in close, confidential, man to man) Me and you ought to sit down and talk sometimes, man. Man, I got me some ideas …

GEORGE (With boredom) Yeah—sometimes we’ll have to do that, Walter.

WALTER (Understanding the indifference, and offended) Yeah—well, when you get the time, man. I know you a busy little boy.

RUTH Walter, please—

WALTER (Bitterly, hurt) I know ain’t nothing in this world as busy as you colored college boys with your fraternity pins and white shoes …

100 RUTH (Covering her face with humiliation) Oh, Walter Lee—

WALTER I see you all all the time—with the books tucked under your arms—going to your (British A—a mimic) “clahsses.” And for what! What the hell you learning over there? Filling up your heads—(Counting off on his fingers)—with the sociology and the psychology—but they teaching you how to be a man? How to take over and run the world? They teaching you how to run a rubber plantation or a steel mill? Naw—just to talk proper and read books and wear them faggoty-looking white shoes …

GEORGE (Looking at him with distaste, a little above it all) You’re all wacked up with bitterness, man.

WALTER (Intently, almost quietly, between the teeth, glaring at the boy) And you—ain’t you bitter, man? Ain’t you just about had it yet? Don’t you see no stars gleaming that you can’t reach out and grab? You happy?—You contented son-of-a-bitch—you happy? You got it made? Bitter? Man, I’m a volcano. Bitter? Here I am a giant—surrounded by ants! Ants who can’t even understand what it is the giant is talking about.

RUTH (Passionately and suddenly) Oh, Walter—ain’t you with nobody!

WALTER (Violently) No! ’Cause ain’t nobody with me! Not even my own mother!

RUTH Walter, that’s a terrible thing to say!

(BENEATHA enters, dressed for the evening in a cocktail dress and earrings, hair natural)

GEORGE Well—hey—(Crosses to BENEATHA; thoughtful, with emphasis, since this is a reversal) You look great!

WALTER (Seeing his sister’s hair for the first time) What’s the matter with your head?

BENEATHA (Tired of the jokes now) I cut it off, Brother.

WALTER (Coming close to inspect it and walking around her) Well, I’ll be damned. So that’s what they mean by the African bush …

BENEATHA Ha ha. Let’s go, George.

GEORGE (Looking at her) You know something? I like it. It’s sharp. I mean it really is. (Helps her into her wrap)

RUTH Yes—I think so, too. (She goes to the mirror and starts to clutch at her hair)

WALTER Oh no! You leave yours alone, baby. You might turn out to have a pin-shaped head or something!

BENEATHA See you all later.

RUTH Have a nice time.

GEORGE Thanks. Good night. (Half out the door, he reopens it. To WALTER) Good night, Prometheus!

(BENEATHA and GEORGE exit)