Raisins Are Even Drier in the Sun

The title A Raisin in the Sun is mysterious when looked at one-dimensionally. When really pondered over, the title could mean a lot of things. The reasoning that I have best come to identify with is that the characters in the play are like the raisin and their bad circumstances are the sun. While the characters are left to squirm under the harsh rays of the sun, they shrivel up and become unappetizing to those wanting to eat a raisin. Similarly, as the characters are in their bad situation for longer and longer, they become angry and they turn on eachother, making themselves unappealing to eachother. The void it causes takes an extreme toll on the family unit as a whole when they each begin to snap at eachother more and more frequently. When the family moves into the house, they are symbolically removing themselves from the rays of the sun.

Characterization Station

The characterization of each character in A Raisin in the Sun is meticulously planned. With Beneatha, the reader originally sees her as an adolescent looking to ruffle a few feathers, but it becomes clear through her character development that she is a young woman looking for her identity. At first, she believes she is meant to be a doctor, but her blossoming relationship with the mysterious man from Africa leads to her reconsidering this path. She comes to realize that she wants to go to Africa with him and make changes for her paople. While it is unclear as to whether or not this plan comes to fruition, it represents another step at which she is yet to find her true identity. With Walter, character development is everything. The reader initially thinks he is an angry middle-aged man with little to show for his life. He, like Beneatha, is really just searching, but he is searching for validation. He thinks that, by becoming a businessman, he will earn respect and change the fate of his people. At the end when he stands up to Mr. Lindler, the family believes that he has become a man. WhileI am unsure as to whether or not I agree with this, I certainly hope he has as he has a 10 year old son.

Dramarama

Overall, A raisin in the Sun by Lorraine Hansberry is a drama. This is mainly due to the heavy topics it addresses rather bluntly. The use of racially malicious terms situations are not seen in modern culture on a regular basis. Hansberry writes about houses being bombed because its inhabitants are not of a desired skin color. While this is upsetting, it is extremely difficult to relate to. This does not happen in modern times nearly as often as it used to. Still, at the time, this was extremely prevalent. African Americans were abused and forved to live in fear. If this is not the making of a drama, nothing could ever be.

Purely Paradox

One character who is completely complexing throughout the work is Amanda. One part of me wants to dislike her. The control she exercises over her children is sick, keeping them from truly reaching their full potential. Still, another part of me sympathizes with her. The love of her life left her to see the world, leaving her behind with two children to tend to alone. This would be enough to drive anyone crazy. Then, the way tom seems to be the spitting image of his father through his behavior gives Amanda a real reason to fear the worst. The paradox of Amanda trying to keep Tom from becoming his father and that actually leading to his leaving is intricately woven, a testament to Williams. Still, the fact that she has kept up a smiling picture of the man who broke her heart a number of years ago seems odd. It seems like it would serve as a daily reminder of all she lost. I would hate to live my life that way.

Nonrealistic

As a whole, I would deem this play as nonrealistic. The idea that a character in the play is narrating is a jumping point to nonrealism. Also, the fact that a picture conveniently illuminates to prove a point during the play assists in this conclusion. " 'But who in hell ever got himself out of one without removing one nail?' (As if in answer, the father's grinning photograph lights up.) (Scene 4)." This could never actually happen in real life. Early on in the play, the narrator, Tom, tells the audience that the play would take place in memory. By this fact alone, not every part of the story is going to be factually correct. Much of it is left up to the narrator's recollection, which can be misleading. It is strictly the truth as the individual character sees it, leading to a nonrealistic storyline.

(Insert Clever Title Here)

In The Glass Menagerie by Tennessee Williams, props and sets play a great role in the development of the plot and the characters. Almost every action detailed in the story relates to some emotional undercurrent. " 'I think we may-have grace-now... (Tom looks at her stupidly.)' (Scene 6)". With this subtle action, Tom is making it clear to the audience that the family does not ordinarily say grace before dinner. At the same time, this helps hint at the fanfare Amanda is putting into the meal to make it seem as though she has the typical Southern family. In reality, they are a family on rocky ground, but the goal of the night was to disguise them as a dream family. Especially in Amanda's case, numerous eccentricities are brought to light through stage direction. Without Amanda's stern glares and Laura's nervous shudders, the characters themselves would be significantly less developed.

Pride and... Prej...Nope... More Pride

It seems as though this story's main conflict is fueled by pride. "If Cassio do remain
He hath a daily beauty in his life That makes me ugly (Act 5, Scene 1)." Iago no longer wants to feel as though he is the ugly duckling, so he goes to great lengths to get rid of the beautiful swan (Cassio). Also, his ego was obviously severely bruised when Cassio was selected to be lieutenant over him. He felt that he deserved the position, but he did not get it. Throughout the story, he seeks revenge, fueling the plotline. Really, pride is likely the most prominant theme of the entire story. Roderigo's ego was also bruised when Desdemona chose Othello over him. This led him to go to extreme lengths to gain her affections, even selling off all his worldly possessions. It seems all to typical that the only characters unaffected by pride are the women, Emelia and Desdemona.

Trust Not Thy Enemy

One theme that seems to be rather prevalent in Othello is trust or possibly a lack thereof. Clearly, everyone trusts everyone too much. "I have rubbed this young quat almost to the sense, And he grows angry. Now, whether he kill Cassio Or Cassio him, or each do kill the other,
Every way makes my gain. (Act 5, Scene 1)" As this serves as an example of, Iago uses the trust Roderigo has entrusted (haha) him with to his own advantage. Roderigo has an inkling that Iago is trying to shaft him, as he explains at the end of scene 4, but Iago's charmer ways convince him to trust him all over again. Oppositely, there is certainly a lack of trust when it comes to the relationship between Desdemona and Othello. Othello ignorantly places all of his trust in Iago, when the one person he can truly trust is his wife, who he later kills. What a mess trust makes of this tale.

The Antagonist of All Antagonists

Iago is the best example of an antagonist possibly in the history of literature. He doesn't care about anyone but himself. Everything he does is self-serving. "Here, stand behind this bulk, straight will he come. Wear thy good rapier bare, and put it home (Act 5, Scene 1)." In this instance, Iago is preparing Roderigo to kill Cassio. Roderigo is another poor schmuck Iago has convinced to do hid dirty work (i.e. kill Cassio to get him out of the way so that he can become lieutenant). Iago has also tricked Othello into thinking Desdemona cheated on him with Cassio to get revenge for Othello supposedly sleeping with Emelia. Really, the story revolves around Iago's deceptions.