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Walter Lee desperately wants to prove his manhood.

Beneatha is striving to connect with her African heritage. Walter Lee desperately wants to prove his manhood. In Lorraine Hansberry’s A Raisin in the Sun , pride is illustrated through the characters: Walter’s manly pride, Beneatha’s cultural pride, and Mama’s religious pride.

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Walter Lee desperately wants to prove his manhood.

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  1. Beneatha is striving to connect with her African heritage. Walter Lee desperately wants to prove his manhood. In Lorraine Hansberry’s A Raisin in the Sun, pride is illustrated through the characters: Walter’s manly pride, Beneatha’s cultural pride, and Mama’s religious pride. Mama relies on her faith in God to guide her with her actions and decisions. Early in the play, Travis needs 50 cents for a school project. His mother refuses because they “don’t have it.” Walter Lee gives Travis the money, saying, “What you tell the boy things like that for!” Walter is embarrassed that his son will think he can’t provide. Asagai, a man from Africa, recalls when Beneatha approached him to get to know him in order to “find [her] identity.” She starts a relationship with Asagai in order to learn about and connect to Africa. After Walter has lost the family’s money, Beneatha says Walter is not a “man.” He is a “toothless rat.” Mama demands, “Have you cried for that boy today?” It is Mama’s faith that allows her to instruct Beneatha to forgive her brother. Beneatha offends Mama by saying there is “no blasted god.” Mama slaps Beneatha and makes her repeat, “In my mother’s house there is still God.” Mama won’t allow disrespect toward God in her house. Mama finds out that Walter has lost the family’s money. She reacts by “punching him in the face.” Then she stops, begging God to “show [her] strength.” Mama’s faith is tested when she needs it to forgive her son. Walter Lee shares with Travis his dreams for the future. He tells Travis, “I hand you the worlds.” Again he wants his on to see that he will provide a secure and prosperous future. Walter Lee finally gains his manhood when he selflessly refuses Mr. Lindner’s racist to buy them out of a white neighborhood. He looks Lindner squarely in the eyes and says, “We don’t want your money.” Beneatha dances around in the traditional African dress to the African records Asagai has given to her. All the while chanting “OCOMOGOSIAY!” a chant that “welcomes the hunters back to the village.” At the end, Beneatha is excited when she tells Mama, “Asagai asked me to marry him. To go to Africa.” It is assumed that she’ll go and fully connect with her heritage.

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