Asagai + George

• BENEATHA: 'with displeasure'
• RUTH 'shallow - what do you mean he's shallow? He's rich!'
• BENEATHA 'well. George looks good - he's got a beautiful car and he takes me to nice places and, as my sister in law says, he is probably the richest boy i will ever get to know and i even like him sometimes - but if the youngers are waiting ... they are waisting their time.'
• George's enterence into the apartments halts Beneathas and Walters participation in a nigerian song and dance, symbollic of how assimilation halts all hints of african influences.
• BENEATHA: 'i hate assimilationist *racial term*'
• GEORGE: 'thats what being eccentric means - being natural.'
• GEORGE: 'nothing but a bunhc of raggedy-assed spirituals and some grass huts.'
• Hansberyy makes George an unlikable, pretentious character by emphasising his contempt for Beneathas choice to reclaim her african identity.
• BENEATHA AND MAMA: 'fool'
• BENEATHA: 'intellectual.'
• Asagai's embodiment of african culture distances him from american ideals and therefore leads to him making insensitive remarks to Beneatha throughout the play.
• Hansberry shows how Asagais emotional rift from AA people and culture can be problematic.
• ASAGAI: 'mutilated hair and all'
• Asagai dismisses Beneathas genuine need for an identity.
• 'do you remember the first time you met me at school... i thought you were the most serious little thing... and you said 'mr asagai... i am looking for my identity!' 


  Asagai appears to be talking down to B here, trivalizing her struggle for an identity and culture.
• Asagai clearly does not pursue B for anything other than her whims of being a young American woman - 'the most serious little thing' makes her appear like a child and not his equal.
• Asagai seems to talk for beneatha and all women: seeming to assume he knows what woman want and need from a relationship.
• ASAGAI: 'you sound like a french intellectual.'