Significant quotes--A Raisin in the Sun

She crosses through the room, goes to the window, opens it, and brings in a feeble little plant growing doggedly in a small pot on the window sill. She feels the dirt and puts it back out. My children and they tempers. Lord, if this little old plant don't get more sun than it's been getting it ain't never going to see spring again. (She turns from the window.)

MAMA-Act 1, Scene 1, pg. 499 — First significant attention drawn to the plant as a symbol for the family throughout the play

(turning on him): Oh, no he ain't going to be getting up no earlier no such thing! It ain't his fault that he can't no earlier nights 'cause he got a bunch of crazy good-for-nothing clowns sitting up running their mouths in what is supposed to be his bedroom after ten o'clock at night

RUTH-Act 1, Scene 1, pg. 489 — Establishing how Ruth takes care of her family, and conflict in her and Walter's marriage because of his other priorities

Well, I ain't got no fifty cents this morning. ... I don't care what teacher say. I ain't got it.

RUTH-Act 1, Scene 1, pg. 490 — Establishing how practical she is with money (she does have 50c)

No. women, something is happening between Man and me. I don't know what it is—but he needs something—some-thing I can't give him any more. He needs this chance, women.

RUTH-Act 1, Scene 1, pg. 501 — This is where Ruth is talking to Mama about Walter's business ideas and her real reason for supporting the store idea — not because she really likes or wants it, but because she's trying fix what's broken between them.

(with fury): What do you want from me, Brother—that I quit school or just drop dead, which!

BENEATHA-Act 1, Scene 1, pg. 497 — Best identifier quote for the conflict between Beneatha and Walter

You—you are a nut. Thee is mad, boy. He (looking at his wife and his sister from the door, very sadly): The world's most backward race of people, and that's a fact. She(turning slowly in her chair):And then there are all those prophets who would lead us out of the wilderness—(He slams out of the house.)—into the swamps!

BENEATHA-Act 1, Scene 1, pg. 498 — The antiquated speech "Thee" and imitating biblical style with talking about prophets leading people — are part of Beneatha using her education to set herself apart from the others.

Women, you don't understand. It's all a matter of ideas, and God is just one idea I don't accept. It's not important. I am not going out and be immoral or commit crimes because I don't believe in God. I don't even think about it. It's just that I get tired of Him getting credit for all the things the human race achieves through its own stubborn effort. There simply is no blasted God—there is only man and it is he who makes miracles!

BENEATHA-Act 1, Scene 1, pg. 507 — Significant example of how Beneatha spends time and thought on her opinions, and in context of the scene she is dismissed by the other two women for experimenting with different ways to express herself and slapped for stating her belief. Beneatha is the only person who states this particular belief.

I ain't rightly decided. (Thinking. She speaks now with emphasis.) Some of it got to be put away for (Women) and her schoolin' —and ain't nothing going to touch that part of it. Noth-ing. (She waits several seconds, trying to make up her mind about something, and looks at RUTH a little tentatively before going on.) Been thinking that we maybe could meet the notes on a little old two-story somewhere, with a yard where Travis could play in the summertime, if we use part of the insurance for a down payment and everybody kind of pitch in. I could maybe take on a little day work again, few days a week—

MAMA-Act 1, Scene 1, pg. 502— First statement of Mama's plans of what to do with the money, after Ruth has talked to her about Walter's plan (out of duty) and suggesting taking a vacation (what Ruth would really want to do with the money)

(coming out, going to her plant): They frighten me, Women. My children. ... / No—there's something come down between me and them that don't let us understand each other and I don't know what it is. One done almost lost his mind thinking 'bout money all the time and the other done commence to talk about things I can't seem to understand in no form or fashion. What is it that's changing, Ruth?

MAMA-Act 1, Scene 1, pg. 508— This line comes after the slap when Beneatha expressed not believing in God, and this is the best example of Mama struggling with the ideas that "how she raised her children" and who they are today are different things.

(Door opens. He walks in. He fumbles with his cap, starts to speak, clears throat, looks everywhere but at she. Finally:) He (to she,): I need some money for carfare. She(looks at him, then warms; teasing, but tenderly): Fifty cents? (She goes to her bag and gets money.) Here—take a taxi!

WALTER LEE and RUTH-Act 1, Scene 1, pg. 498 — Shows how Walter is completely impractical with his money (he was okay when he just gave Travis the 50c, but overspent to make a point), and despite the conflict, Ruth is still there for Walter.

(frowning impatiently): Don't call it that. See there, that just goes to show you what women understand about the world. Baby, don't nothing happen for you in this world 'less you pay somebody off!

WALTER LEE- Act 1, Scene 1, pg. 494— Walter speaking with Ruth about the business plan involving "graft" or bribes to inspectors, showing his comfort with money-based reasoning over moral reasoning which becomes important in the climax of the play.

(to woman only): What you tell the boy things like that for? (Reaching down into his pants with a rather important gesture) Here, son— (He hands the boy the coin, but his eyes are directed to his wife's. Boy takes the money happily.) / Boy: Thanks, Daddy. He starts out. / woman watches both of them with murder in her eyes. Man stands and stares back at her with defiance, and suddenly reaches into his pocket again on an afterthought. Man (without even looking at his son, still staring hard at his wife): In fact, here's another fifty cents. . . Buy yourself some fruit today—or take a taxicab to school or something!

WALTER LEE-Act 1, Scene 1, pg. 492-493 — Establishing how Walter Lee views the situation with money — not in practical terms, but as gestures (and specifically to be combative with Ruth — it's not about Travis, it's about undermining her.)

That is just what is wrong with the colored woman in this world . . . Don't understand about building their men up and making 'em feel like they somebody. Like they can do something.

WALTER LEE-Act 1, Scene 1, pg. 495 Part of Walter's statements to tear down other groups of people (here, all black women) as a personal attack when someone isn't making him feel important

(sadly, but gaining in power.) Man say: I got to take hold of this here world, baby! And a woman will say: Eat your eggs and go to work. (Passionately now.) Man say: I got to change my life, I'm choking to death, baby! And his woman say—(in utter anguish as he brings his fists down on his thighs)— Your eggs is getting cold! .../[women responds that they don't have the money] (slams the table and jumps up): —DAMN MY EGGS— DAMN ALL THE EGGS THAT EVER WAS

WALTER LEE-Act 1, Scene 1, pg. 495— Walter's extreme outburst when his wife doesn't want to keep listening to him talk about business, bribes, and keeps telling him to eat his eggs