She is studying to be a doctor, which is quite difficult for a young African American woman in a working class family since they can barely afford to send her to medical school. Beneatha is then confronted with two men, George Murchison, a wealthy black man, and Joseph Asagai, an intelligent African student from Nigeria. Beneatha sees who she is pressured to be through George, and what she believes she wants to be through Asagai. The American Dream for Beneatha is the search to find who she wants to be through the characters of Murchison and Asagai, in a family and world where she is expected to live and act in specific ways according to her role in society.
“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 [...] 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” sheds light into Beneatha’s passion. Her zeal is to be a doctor and cure others. When she first meets a college classmate from Africa, Beneatha's enthusiasm for the medical field shifts to her ancestors. “You came up to me and you said… "Mr. Asagai – I want very much to talk with you. About Africa. You see, Mr. Asagai, I am looking for my identity!" is her first interaction with the acquaintance, Asagai. Rather than solely caring about her dream, Beneatha shows more interest in learning about her African roots. Throughout the play, she is tied between two opposing sides: being a doctor and recognizing her African roots. Being a doctor allows her to assimilate in American culture, but
Beneatha is a round, dynamic character that evolves throughout the play. She comprehends herself and her general public better toward the finish of the play than toward the start. She learns to deal with the failures of the people around her. She learns that her views on African culture are based on her personal experiences not on a wholly African one. She also discovers that there are
Beneatha is an influential character, she sees things mostly for what they are and grows better because of it. As an expressive woman, she often provides tongue-in-cheek humor. She says “Mama if there are two thing we, as people, have got to overcome, one is the Klu Klux Klan—and the other is Mrs. Johnson”(Hansberry 60) about a problematic lady mentioned above. This is a great show of how witty Beneatha is, while having a reason to compare Mrs. Johnson to the Ku Klux Klan. Beneatha’s personality is a big factor on why she wants to be something significant, like a doctor.
Asagai show’s Beneatha that listening to will not bring her happiness. Asagai continues to bring calmness and spirituality back to Beneatha,” 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?” (page 135) is how Asagai tells Beneatha that her family arguing over the money from her father’s death is not right. Asagai enlightens her on how she too is slowly assimilating into the American culture
Beneatha is probably one of the most independent and individual characters in the play. She does not worry about the prejudice her community has about her. She is confident in herself, her abilities, and her intellect. She tries to be independent by not allowing anybody to help her. When she first hears about the insurance money she does not want any help from it. When Walter suggest that mama could use a little bit of the money to help Beneatha out with the cost of college, Beneatha responds by saying, “I have never asked anyone around here to do anything for me” ( Hansberry 281). Beneatha refuses help from others, because she feels that doing everything on her own will make her a stronger woman. She presumes that asking for assistance for anything in life will make her weaker. She does not understand how dependent she is on others until she starts dating George Murchison and joseph Asagai.
Not only is she black but she’s a woman so in the 1950s the whole world was against her. “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[...] (page 64)” Beneatha is a feminist and a resilient character but every male figure in her life treats her dream like a joke and a phase. She is belittled by her own brother who tells her to just be a nurse. She is belittled by George Murchinson her boyfriend who tells her that she’s too pretty for thoughts and that her dream is just a girlish fantasy. Even Asagai treats her as lower to himself. But Beneatha has dreams. After seeing a child named Rufus get his face split open and thinking he’d never be put back together, she saw him later all fixed up by doctors. This was a life changing moment. From then on Beneatha wanted to be a doctor and she is working as hard as she can to get there. This money is crucial for Beneatha. In order to become a doctor she needs to go to medical school but in order to go to medical school she needs money. Half of the insurance money was supposed to go towards her college education but instead her brother lost it
Beneatha is an independent woman with great ambition. She always stands up for her beliefs and ideas no matter how contradict others. Beneatha is a fox, she is clever and, a quick thinker, she stays true to herself. When talking about her future Beneatha states, “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… I couldn’t be bothered with that. I am going to be a doctor, and everybody around here better understand that” (Hansberry, page 32). Beneatha is already sure of herself and what she wants to be in life. This encounter between her family is a defining moment for her character it shows how serious she is about her future. She also is not afraid to speak about her beliefs no matter the consequence. For example, ”God is just one idea I don’t accept. It’s not important. I am not going out and be immoral or commit crimes
Beneatha is chasing her dream by her wanting to become a doctor. Beneatha was a very pretty, nice, and a thoughtful person. She didn’t care about others and what they thought of her. Beneatha try's everything she can to be a doctor. "I am going to be a doctor, I'm not worried about anything else" (Hansberry 50). She values her family's views but her desire is to become a doctor first and live happy. Although, she is trying to chase her dreams she try's new things. She also shows how understanding she is when
However, unlike Mama Beneatha doesn’t let the “dominant. . . oppressive culture” chain her dreams. Beneatha, despite the
Beneatha, being somewhat of an outcast, understands that she does not have to follow the status quo of her society by becoming a housewife, so she decides to work hard in order to become a doctor. Beneatha wants to fulfill this dream because she realizes that she enjoys helping people, as she explains to Asagai after the money is stolen, “That was what one person could do for another, fix him up — sew up the problem, make him right again” (III.i.900). Beneatha wishes to help people by taking care of them and ridding them of their problems. She does not want to become the typical, by standing woman that is not able to help if there is a dilemma. Even after Willy runs off with all of the money, Asagai offers Beneatha a way to achieve her dream of becoming a doctor. Beneatha reveals this wonderful opportunity to Mama as they exit their apartment, “To go to Africa, Mama -- be a doctor in Africa”
As we see from her first entrance, Beneatha is a loud and outspoken character. She is a single young female living in a home with Ruth and Mama. Quite similar as characters, they share traditional values and believe women should care for the wellbeing of their family. Ruth and Mama take pride in doing domestic service work as their source of income and are continuously seen putting their children’s needs before theirs. Hansberry uses Beneatha’s character to contradict these values and introduce a character with modern feminist views. Beneatha fiercely fires back to anyone who questions her life goals. She is constantly found bickering with Walter about her dream of becoming a doctor. She is reminded by him that “girls” shouldn’t be doctors. Beneatha voices her feelings on male dependency when she mentions to Mama and 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”, and they respond with a shocked “if!”(50). The idea of a woman not wanting to get married was shocking to Mama and Ruth. Beneatha feels that she does not need to be dependent on a man; she has one goal, to become a doctor. She does not need a man in her life, she feels perfectly
It was in this sort of mood that Beneatha formulated an idea about the sheer stupidity and cruelty of nature in general and people in specific: "Don't you see there isn't any real progress, 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"(Hansberry. Raisin). Misery and stupidity are always present: man does not seem capable of eliminating them once and for all. Their existence conspires to thwart dreams, and Beneatha decided that she was tired of the struggle, tired of deluding herself with an unworkable vision, tired of having to fight against the unchangeable facts of life- a view she might have kept, as many have, if it were not for Asagai's gentle reasoning.
Beneatha could best be described as the dawning of the modern woman in the 1950s. She’s educated and independent and aims very high for her ideal career choice as a doctor, but needs money for her schooling. And yet when it comes to her outlook on life Asagai summarizes her the best by bestowing upon her the name “Alaiyo.” Which means: One for whom bread-food-is not enough. Her attitude towards the money though could best be described as passive, unlike Walter who is constantly bringing up the topic she honestly could care less
Identity is also another major theme in The Comedy of Errors and The Brothers Menaechmus. While the plays are obviously about misidentification, even before the actual misidentification occurs do we see discussions on the nature of identity. In this play, it is seen that identity is determined, in part, by one’s relationship with other people. The loss of the family comes a loss of identity because of the importance of familial relationships. With the loss of his wife, Egeon loses his identity as a husband; with the loss of his twin, Antipholus S. loses his identity as a brother. They no longer have these relationship to determine their identities. In fact, the split between Egeon’s past and present states can be seen in the states of his sons,