Describe the encounter between the two couples and the charactersʼ reactions to it.

Analyze how the encounter of the two couples is presented. Focus on interaction, stage directions and use of language.

Choose one of the following tasks:

3.1

Describing the USA in 2018, Chimamanda Ngozi Adichie, the famous Nigerian writer who currently lives alternately in Nigeria and the USA, claimed that “we live in a culture where people don’t actually listen to one another and people don’t actually hear one another. [...] I think America is terribly divided”. ¹
Evaluate whether her statement is still a valid description of the social and political situation in the USA today.

¹ source (Zugriff: 17.02.2024)

(Evaluation: comment)   (17 Punkte)

3.2

Later that evening, Beneatha is still upset by the encounter with the Nelsons. She decides to write a letter to a friend in the USA reflecting on her thoughts and feelings as well as her hopes for her future in Nigeria.

(Evaluation: re-creation of text)  (17 Punkte)

The encounter between the two couples — Joseph and Beneatha Asagai, and Peter and Joan Nelson — is marked by tension, cultural misunderstanding, and racism.

Peter and Joan, the white American missionary couple, are awaiting the arrival of the new owners, the African-American Beneatha and her Nigerian husband Asagai. From the beginning, there is a lot of tension between the couples. Beneatha is shocked to find white people still in the house and runs outside, shouting, “Asagai, there’s white people in our house!” (lines 9-10). Her reaction shows her discomfort and suspicion. Asagai, however, is more composed. He greets the Nelsons politely, shows respect by prostrating slightly, and accepts their gift with gratitude. Joan tries to act friendly but immediately makes offensive remarks, saying she was “excited when [she] heard that natives were moving into [their] house” (lines 31-32), and refers to “you people” (line 29), revealing her condescending attitude. Beneatha is visibly shocked and confused, but eventually decides to play along sarcastically, especially when Joan proudly shows off the modern amenities of the house. Peter remains more reserved but tries to signal Joan to stop when her comments become too inappropriate. Despite his effort to maintain politeness, his comment about the couple returning to “sunny Alabama” (line 62) and being “Southern Baptist Missionar[ies]” (line 67) shows that he, too, has a colonial mindset. In the end, Beneatha mockingly repeats Joan’s excitement, and her final remark is clearly ironic: “Now that I know how to switch on the light and turn on a tap, we certainly will” (lines 81-82), showing her frustration with the way they were treated.

The presentation of the encounter between the two couples is shaped through their interaction, stage directions, and language, all of which highlight themes of cultural superiority, racism, and colonial attitudes.

The dialogue reveals an imbalance of power and understanding. The Nelsons behave as though they are still in control of the space, even though they are leaving. Joan takes the lead in the conversation and constantly interrupts or ignores Beneatha, treating her like a child. She dominates the scene, giving an unwanted tour of the house, and shows no awareness of how patronizing she sounds. Beneatha and Asagai, on the other hand, respond very differently. Asagai remains diplomatic and polite, even when Joan says things like “you look awfully young to be a chief” (line 40). Beneatha, however, is more emotionally expressive. Her initial reaction is one of shock, and although she later pretends to play along, her sarcasm and eye-rolling show her true feelings. The stage directions support the characters’ reactions and underline power dynamics. For example, when Joan walks straight up to Beneatha “as if they are old friends” (line 26), it shows her sense of entitlement and lack of boundaries. Peter’s attempts to intervene with “Darling…” (line 34) are ineffective, showing he has little control over Joan. Beneatha’s body language also expresses resistance. Her “dirty look” (line 60) to Asagai and her imitation of Joan show her discomfort and sarcasm, even though she tries to remain outwardly polite. The fact that she's “deciding to play along” (line 55) also highlights her effort to keep things civil for now. The language used by the Nelsons is full of microaggressions and outdated, offensive terms. Joan says things like “you people” (line 29), “natives” (line 31), and “deepest darkest Africa” (line 59), which reflect her ignorance and racist assumptions. She uses these phrases casually, believing she is being kind or helpful, which makes the scene even more uncomfortable. In contrast, Beneatha and Asagai’s language is more controlled and formal. Asagai uses Yoruba greetings, showing cultural pride and respect. Beneatha starts off angry and suspicious but uses sarcasm, for example when she screams “Weeeeeeee!” (line 57) to expose Joan’s ignorance without directly confronting her. Overall, the encounter is presented as awkward and uncomfortable, using contrast in character behavior and speech. The interaction exposes colonial and racist attitudes hidden under the surface of so-called friendliness. Irony, sarcasm, and contrast are used to criticize these attitudes, especially through Joan’s ignorance and Beneatha’s quiet resistance.