Monsieur le petit bourgeois noir Beneatha is so angry at Walter Lee for having entrusted their family's money to the unscrupulous Willy that she mockingly derides Walter Lee for having shown such mercantile naivete. To Beneatha, it is apparent that Walter Lee's financial folly was due to his total lack of knowledge about the workings of the business world; she taunts him by referring to him as "Monsieur le petit bourgeois noir," meaning "Mister [black] small businessman." She goes on to taunt him by calling him other names, such as "Symbol of the Rising Class," "Entrepreneur," "Titan of the System," and "Chairman of the Board," none of which Walter is and few of which Walter has ever heard. By calling Walter Lee "Monsieur le petit bourgeois noir," Beneatha gives us proof that she is oppressively pedantic since she is clearly showing off her learning and is bragging (once again) about her college student status. She speaks mostly for her own emotional benefit, for she knows that Walter has no knowledge of the meaning of her words in French, just as he barely understands the meaning of the insults she hurls at him in English.
Mr. Asagai, I am looking for my identity Asagai repeats Beneatha's words to her, poking fun at her desperation to connect with her African heritage. Beneatha made this statement to Asagai when they first met, a remark he had found amusing.
Mrs. Miniver An Oscar-winning film (1942) which starred Greer Garson as Mrs. Miniver, an English middle-class housewife who appears in many scenes tending her roses. In the movie, despite the blitz bombs of Nazi Germany, Mrs. Miniver stands stalwart, the symbol of England's hope and strength. Because Mama's housewarming gift is a set of gardening tools, the card reads, "To our own Mrs. Miniver Mama's strength and her survival in a nation divided by racial struggle makes her an appropriate parallel to Mrs. Miniver.
my girl didn't come in today Ruth works as a domestic, a cleaning woman, for wealthy whites who have traditionally referred to these cleaning women as "girls" — a term that the domestics found degrading but never complained openly about for fear of losing their jobs. Even though the cleaning woman was around thirty, as Ruth is, she was still called a "girl." Even Mama's being in her sixties does not mean that she would not also be referred to as the cleaning "girl" or just "the girl," most especially when the white employers were talking among themselves.
the nature of quiet desperation The complete quotation to which George refers is "The mass of men lead lives of quiet desperation," a line from Thoreau's Walden. George proves to be as pedantic as Beneatha, peppering his arguments with literary allusions and oftentimes esoteric references — for example, calling Walter "Prometheus." George is trying to persuade Beneatha to abandon her feminist principles when he utters this philosophical truth, but throughout the play, Hansherry shows that many of the characters in Raisin do indeed lead lives of quiet desperation: Mama, although outwardly strong, is consumed with anxiety over the various, disparate directions her children are going; Walter Lee is clearly a desperate man, trying to secure a dream that eludes him; Ruth is pregnant but afraid to have this child (one more mouth to feed), especially since it will be born into a marital relationship that is deteriorating from within; Beneatha is desperately seeking her own identity while simultaneously attempting to escape the stereotypical barriers of her class and gender; and last, even Karl Lindner is a desperate man, rationalizing his rigid beliefs in a rapidly changing world. Of all the characters, Asagai appears to be the most serene, even when his is contemplating justifiable reasons for anxiety — that is, the political turmoil within his homeland and the possibility of his own death in his desire for his country's independence. Note that Asagai calmly accepts whatever his fate might be and even becomes an inadvertent peacemaker when he diffuses Beneatha's vitriolic reaction to Walter's loss of the family's money.
never been 'fraid of no crackers After Mama has announced her plans to buy a house in an all-white neighborhood, Ruth at first expresses fear. Then, as if it were an afterthought, Ruth says that she's "never been 'fraid of no crackers" even though her previous dialogue says otherwise. Traditionally, "crackers" refers to bigoted whites, especially those living in Georgia; here, Ruth is using the term to derogatorily refer to all white racists.
