Act I, Scene II - The Dance Massacre - The Hammer And The Trampoline

Alexander tapped the stack of tens with one long finger. Five of us exchanged curious glances; Wren was still frowning into the fireplace. Richard arched one dark eyebrow. Thus always to tyrants. Alexander gestured from one of them to the other. Alexander studied me with narrowed eyes, running his tongue across his teeth.

Far too many times I had asked myself whether art was imitating life or if it was the other way around. Any takers? Richard chuckled and climbed out of his chair. The beastiary character names are also visually suggestive.

An authority on Ben Jonson's plays, Robert E. Knoll, believes that "if we fail to visualize the scenes and the movements on stage, we miss half the fun and two-thirds of Jonson's dramatic genius. Previous Scene 1. Next Scene 3. Removing book from your Reading List will also remove any bookmarked pages associated with this title. Sadly, the people of Benin began to involve themselves in the lucrative Atlantic slave-trade — selling captured rival prisoners to Europeans and Americans.

At this point, we should note that although Hansberry lauds the Ashanti empires specifically and speaks highly of the art of Benin through the dialogue of her character, Beneatha, Hansberry, herself, in other essays, refers specifically to the Ashanti as "those murderous, slave trading Ashanti.

The inexcusable complicity of the Africans in the heinous slave trade, however miniscule it might have been, is often exaggerated — perhaps in an attempt to assuage guilt over the grand scale involvement in the violation of human rights by all those connected with the Atlantic slave trade. As the economy of Benin grew to depend upon the slave trade, internal strife once again claimed an empire as Benin declined and was eventually overwhelmed by the British.

The British attack on Benin, ironically, was initially to retaliate for the killing of nine European travelers. But when the British stormed the city, they were so impressed by the Benin bronzes that they took them back with them, giving the British Museum an incomparable collection of rare treasures of African art. Because this art received such worldwide attention, few wanted to believe that such magnificent artwork had been created by the Africans.

Thus, the art of Benin was, at first, attributed to the Portuguese; then someone suggested that the bronzes had been washed ashore from the lost city of Atlantis or had been created by its descendants or survivors; others said that some lost and wandering Europeans had found themselves in Benin and had produced the bronze wonders; others said that nomadic Greeks had produced these works while journeying through Africa.

Still others insisted that these works, found in Africa, had been the products of the European Renaissance. All of this confusion was due to the widespread ignorance of Africa, its traditions, its people and their capabilities, and the great lost civilizations.

In this play, Hansberry attempted, in her own small way, to educate the world about Africa through her drama about a poor black family living on Chicago's Southside. Bantu The Bantu language is the tongue common to the peoples of Africa who live below the equator. There are many languages and tribes among the Bantu people — thus, the Bantu are one of the many native African groups who speak one of the Bantu languages. Bantu is the largest language family and Swahili which consists of Bantu and Arabic is the most widely spoken.

Clearly, Hansherry uses her own family's livelihood as being the livelihood of the rich black family in Raisin. Lorraine Hansberry's father was a successful real estate businessman; apparently, the Murchison family of Raisin is equally successful, for Walter refers to the Murchisons' purchase of a big hotel on the "Drive. In , anyone, most especially a black person, who could afford to purchase a hotel — especially a hotel on such expensive property — would have been very wealthy.

Prometheus As noted later in the character analysis of Walter Lee Younger, George Murchison's reference to Prometheus fits Walter's fiery personality, along with several other parallels. Farewell: I'll grow a talker for this gear.

Thanks, i' faith, for silence is only commendable In a neat's tongue dried and a maid not vendible. Is that any thing now? Gratiano speaks an infinite deal of nothing, more than any man in all Venice. Well, tell me now what lady is the same To whom you swore a secret pilgrimage, That you to-day promised to tell me of? I pray you, good Bassanio, let me know it; And if it stand, as you yourself still do, Within the eye of honour, be assured, My purse, my person, my extremest means, Lie all unlock'd to your occasions.

In my school-days, when I had lost one shaft, I shot his fellow of the self-same flight The self-same way with more advised watch, To find the other forth, and by adventuring both I oft found both: I urge this childhood proof, Because what follows is pure innocence. You know me well, and herein spend but time To wind about my love with circumstance; And out of doubt you do me now more wrong In making question of my uttermost Than if you had made waste of all I have: Then do but say to me what I should do That in your knowledge may by me be done, And I am prest unto it: therefore, speak.

In Belmont is a lady richly left; And she is fair, and, fairer than that word, Of wondrous virtues: sometimes from her eyes I did receive fair speechless messages: Her name is Portia, nothing undervalued To Cato's daughter, Brutus' Portia: Nor is the wide world ignorant of her worth, For the four winds blow in from every coast Renowned suitors, and her sunny locks Hang on her temples like a golden fleece; Which makes her seat of Belmont Colchos' strand, And many Jasons come in quest of her.

Thou know'st that all my fortunes are at sea; Neither have I money nor commodity To raise a present sum: therefore go forth; Try what my credit can in Venice do: That shall be rack'd, even to the uttermost, To furnish thee to Belmont, to fair Portia. Full Text. Act I, Scene 3 Venice A public place. Act II, Scene 2 Venice a street. Act IV, Scene 2 The same a street.

Act II, Scene 6 The same. All's Well the Ends Well. Once more, the more to aggravate the note, With a foul traitor's name stuff I thy throat; And wish, so please my sovereign, ere I move, What my tongue speaks my right drawn sword may prove.

THOMAS MOWBRAY Let not my cold words here accuse my zeal: 'Tis not the trial of a woman's war, The bitter clamour of two eager tongues, Can arbitrate this cause betwixt us twain; The blood is hot that must be cool'd for this: Yet can I not of such tame patience boast As to be hush'd and nought at all to say: First, the fair reverence of your highness curbs me From giving reins and spurs to my free speech; Which else would post until it had return'd These terms of treason doubled down his throat.

Setting aside his high blood's royalty, And let him be no kinsman to my liege, I do defy him, and I spit at him; Call him a slanderous coward and a villain: Which to maintain I would allow him odds, And meet him, were I tied to run afoot Even to the frozen ridges of the Alps, Or any other ground inhabitable, Where ever Englishman durst set his foot. Mean time let this defend my loyalty, By all my hopes, most falsely doth he lie. If guilty dread have left thee so much strength As to take up mine honour's pawn, then stoop: By that and all the rites of knighthood else, Will I make good against thee, arm to arm, What I have spoke, or thou canst worse devise.

It must be great that can inherit us So much as of a thought of ill in him. Besides I say and will in battle prove, Or here or elsewhere to the furthest verge That ever was survey'd by English eye, That all the treasons for these eighteen years Complotted and contrived in this land Fetch from false Mowbray their first head and spring.

Further I say and further will maintain Upon his bad life to make all this good, That he did plot the Duke of Gloucester's death, Suggest his soon-believing adversaries, And consequently, like a traitor coward, Sluiced out his innocent soul through streams of blood: Which blood, like sacrificing Abel's, cries, Even from the tongueless caverns of the earth, To me for justice and rough chastisement; And, by the glorious worth of my descent, This arm shall do it, or this life be spent.

Thomas of Norfolk, what say'st thou to this? Three parts of that receipt I had for Calais Disbursed I duly to his highness' soldiers; The other part reserved I by consent, For that my sovereign liege was in my debt Upon remainder of a dear account, Since last I went to France to fetch his queen: Now swallow down that lie.

For Gloucester's death, I slew him not; but to my own disgrace Neglected my sworn duty in that case. For you, my noble Lord of Lancaster, The honourable father to my foe Once did I lay an ambush for your life, A trespass that doth vex my grieved soul But ere I last received the sacrament I did confess it, and exactly begg'd Your grace's pardon, and I hope I had it. This is my fault: as for the rest appeall'd, It issues from the rancour of a villain, A recreant and most degenerate traitor Which in myself I boldly will defend; And interchangeably hurl down my gage Upon this overweening traitor's foot, To prove myself a loyal gentleman Even in the best blood chamber'd in his bosom.

In haste whereof, most heartily I pray Your highness to assign our trial day. Good uncle, let this end where it begun; We'll calm the Duke of Norfolk, you your son. Obedience bids I should not bid again. My life thou shalt command, but not my shame: The one my duty owes; but my fair name, Despite of death that lives upon my grave, To dark dishonour's use thou shalt not have.

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Act II, Scene 1 (1) What is the setting at the beginning of this scene? How is it different from the end of Act I? (2) What does Beneatha mean when she says, “Enough of this assimilationist junk!”? (3) What is George’s reaction to Walter and Beneatha performing their African dance?

7 thoughts on “Act I, Scene II - The Dance Massacre - The Hammer And The Trampoline

  1. Summary and Analysis Act II: Scene 1. The scene begins at the mountain cavern, which is blocked at the entrance by a large black boulder; there is a crowd present for the ceremony. A woman teaches her child to cry on cue, to be frightened by the spirits who are about to exit from the cavern.
  2. Mar 04,  · •Turn on the 2 valves (2 of 4 valves) •Turn on the valve (3 of 4) from the water heater and switch it from cold to hot (from blue to red) •Open the ladder using the wrench.
  3. a reference to a historical or literary figure, happening, or event that is meant to enhance the meaning of the story. In Act II, Scene ii, Macbeth refers to Neptune, the Roman god of the sea, when expressing fear that his murderous conscience will never be cleansed.
  4. Hamlet to Laertes. He says this to prove his innocence in killing Polonius; he is sick with madness, not his fault. (Act 5, Scene 2, Lines ) But I do prophesy the .
  5. Act I, Scene ii. Political business in this scene. The new king, Claudius, thanks everyone for going along. with the succession and the wedding – this is an ominous line. Claudius mentions Fortinbras and his claims on the land. Fortinbras is trying to take advantage of the time of succession.
  6. Act I, Scene II: 2: Smoker's Kiss: 3: Changing Water Under Colors: 4: King Nine Will Not Return: 5: Mason's Hymn.
  7. Act IV, Scene 1 Westminster Hall. Act I, Scene 3 The lists at Coventry. Act V, Scene 1 London. A street leading to the Tower. Act I, Scene 4 The court. Act V, Scene 2 The DUKE OF YORK's palace. Act II, Scene 1 Ely House. Act V, Scene 3 A royal palace. Act II, Scene 2 The palace. Act V, Scene 4 The same./Act V, Scene 5 Pomfret castle.

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