Character Analysis of Fences

7/21/2019 Character Analysis of Fences

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Brodie McPherson

The Ferrell Assignment

10/20/14

R. P. Wesp

An In-depth oo! into A"g"st Wilson#s Fences

$ons %nd &or$

1. Where Are The$'

%. (ot entirel$ speci)ied *"t li!el$ Pitts*"rg+ Penns$l,%ni%. I *elie,e this mostl$ *ec%"se

th%t is here Wilson set most o) his pl%$s. therise+ %s st%ted in the setting

description+ the sho t%!es pl%ce in the )ront $%rd %nd porch o) Tro$ M%son.i. The setting is the $%rd hich )ronts the onl$ entr%nce to the MA(

ho"sehold+ %n %ncient to-stor$ *ric! ho"se set *%c! o)) % sm%ll %lle$ in % *ig-

cit$ neigh*orhood.3 ,5 *. A )e ch%irs on the porch+ %long ith %n old-)%shioned ice*o. An "n)inished )ence

s"rro"nds the $%rd. There is %lso % s%horse+ l"m*er+ %nd other sm%ll constr"ction

e6"ipment. 7%nging )rom the tree is % *%ll m%de o) strips o) cloth %nd r%gs. itting

ne%r*$ is % *%se*%ll *%t. There %re %lso to oil dr"ms "sed %s g%r*%ge c%ns.c. &or$ is the onl$ one o) the to ho mentions the propert$. The moments here he

does %re not simpl$ descriptions+ *"t re)erences to the *%d things th%t Tro$ %s the

c%"se o).

i. &R89 It %in#t $o"r $%rd. 8o" too! :ncle ;%*e#s mone$ he got )rom the

%rm$ to *"$ this ho"se %nd then $o" p"t him o"t3 <=5. This %cc"s%tion rel%$s

to the %"dience "nder h%t circ"mst%nces Tro$ got the ho"se+ %nd gi,es some

insight to his ch%r%cter.

ii. &R89 8e%h> th%t "sed to *e m$ room3 ?@5. This st%tement %ll"des to the

tension he )%ced ith Tro$ hen he le)t the ho"se.

iii. &R89 The hole time I %s groing "p> li,ing in his ho"se>3 ?5. This

)"rther %ddresses the %*o,e st%tement on the tension *eteen Tro$ %nd &or$.

It is )olloed *$ &R89 ,er$here I loo!ed+ To$ M%son %s st%ring *%c!

%t me> hiding "nder the *ed> in the closet3 ?5.

d. There does not seem to *e %n$ contet"%l signi)ic%nce to their loc%tion other th%nhen Tro$ disc"sses not *eing %*le to )ind % Co* hen )irst mo,ing )rom the so"th+

something th%t %s % common occ"rrence %mongst *l%c!s.i. TR89 ;ot "p here %nd )o"nd o"t> not onl$ co"ld $o" not get % Co*>3

@45.

2. When %re the$'

%. The sho *egins on % Frid%$ e,ening in 1?@=. The second scene is the )olloing

morning+ then l%ter th%t d%$. cene )o"r is %nother Frid%$+ to ee!s l%ter. Act To



opens ith the )olloing morning. Act To+ scene to is si months l%ter in the e%rl$

%)ternoon. Then l%te e,ening three d%$s l%ter. Act To scene )o"r is to months l%ter.

cene )i,e is 1?@+ it is e%rl$ morning. *. There is ,er$ little tet"%l e,idence to s"ggest the e%ther or se%son+ *"t it is li!el$

th%t it is not on %n$ etreme end o) the spectr"m. I o"ld epect th%t the m%Corit$ o)

the sho t%!es pl%ce in the l%te spring thro"gh e%rl$ %"t"mn+ %ltho"gh mentions o)&or$#s )oot*%ll pr%ctice %nd *%se*%ll g%mes %ll"de to %n o,erl%p period o) A"g"st to

cto*er.

c. There %re no st%tements or comments m%de *$ either ch%r%cter on the time the$ %re

in.

d. In the )in%l scene+ it is the d%$ o) Tro$#s )"ner%l.D. A5 $ons

%. D4

*. M%lec. Tro$9 F%ther+ tr%ined+ Tro$ )re6"entl$ %cc"ses $ons o) onl$ needing his mone$.

TR89 The nigger %s )iing to %s! me )or some mone$. It#s Frid%$ night. It#s m$

p%$d%$3 45.Rose9 tep-mother+ the$ h%,e % good rel%tionship+ Rose o)ten de)ends $ons %g%inst

Tro$. R9 Tro$+ le%,e $o"r *o$ %lone. 7e come *$ to see $o" %nd $o" %nn% st%rt

%ll th%t nonsense3 1D5.&or$9 7%l)-*rother+ despite the %ge g%p+ the$ h%,e % decent rel%tionship. $ons is

%l%$s tr$ing to *e % good *ig *rother. 8(9 %$ m%n+ I#m sorr$ I missed $o"r

gr%d"%tion. 8o" !no I h%d % gig %nd co"ldn#t get %%$. therise+ I o"ld h%,e

*een there+ m%n. o h%t $o" doing'3 <15.

;%*riel9 :ncle+ $ons is %l%$s ple%s%nt to his "ncle %nd seems to gen"inel$ enCo$

him. 8(9 8o" he%r this+ Pop. :ncle ;%*e+ $o" %lrightE3 4<5.

R%$nell9 7%l)-sister+ despite the l%rge %ge g%p+ $ons seems to li!e his sister+ %ltho"ghthere is ,er$ little inter%ction. 8(9 With his arm around RAYNELL) &or$>

loo! %t R%$nell. Ain#t she precio"s' he gonn% *re%! % hole lot o) he%rts.3 ?25.

d. Bono9 There is minim%l inter%ction ith e%ch other+ mostl$ common ple%s%ntries 1D5e. $ons is %n %spiring m"sici%n. 7e pl%$s )re6"entl$ in cl"*s. 8(9 7e$+ Pop+ h$

don#t $o" come on don to the ;rill %nd he%r me pl%$'3 @@5. 7e sometimes needs to

*orro mone$ )rom his )%ther+ *"t he tries to p%$ him *%c! o)ten9 8(9 7ere> I

told $o" I#d p%$ $o" hen Bonnie got p%id.3 45. Mone$ is li!el$ tight in his li)e. 7e

does not %ppe%r to *e ed"c%ted %t % higher le,el+ *"t gi,es o)) the impression th%t he is

ell li!ed %mong his )riends+ %ltho"gh this is C"st % )eeling I h%,e %*o"t him.). Ag%in+ I )eel li!e o"tside o) his )%mil$+ he is ell li!ed+ *"t ithin his )%mil$+ it is

,er$ cle%r th%t Tro$ does not respect him %s e,ident *$ %n$ n"m*er o) 6"otes %*o,e.g. This is %lso spec"l%tion+ *"t he pro*%*l$ sees himsel) %s % good m"sici%n+ *"t

recognies th%t he is % little l%$.

h. ther th%n % go%tee %nd ho he is dressed 1D5+ there %re no other ph$sic%l

descriptions. As s"ch+ it is "nli!el$ th%t he is not in good he%lth.

i. :nless there is some str%nge tist in these pl%$s here the$ %re ritten %s re%lism

ith % str%nge )orm o) go,ernment+ $ons is li,ing "nder the reg"l%r :.. s$stem o)

go,ernment. Bec%"se he seems li!e % li*er%l %g%in+ C"st spec"l%tion *%sed on his



choice in *eing % m"sici%n5 I c%n ,er$ e%sil$ see him %t % protest m%rch in the

s"*se6"ent dec%des.

C. 7e %s li!el$ *ro"ght "p &hristi%n+ li!el$ piscop%li%n or B%ptist c"lt"r%l %nd

historic%l c"es5 *"t m%!es no mention o) it in the pl%$+ %nd his c%reer p%th pro*%*l$ is

not one )illed ith religio"s mem*ers+ so he li!el$ does not )oc"s m"ch on religion.

!. As I s%id %*o,e+ he pro*%*l$ is ,er$ li*er%l+ so I c%n see him ith % ,er$ rel%ed%ttit"de to%rds se+ rel%tionships+ etc. 7e pro*%*l$ ill ne,er get m%rried+ %nd m%$

h%,e tro"*le st%$ing in % committed rel%tionship+ *"t he ill h%,e )"n.

l. 7e is pro*%*l$ ,er$ ecited %*o"t the orld. 7e seems li!e the t$pe to *e )%scin%ted

*$ e,er$thing th%t is h%ppening in the orld.

m. ,er%ll+ his %rc is ,er$ s"*tle. B$ the end o) the sho+ it seems to me th%t he m%$*e

spends more time ith Rose %nd R%$nell th%n he did *e)ore+ *"t there is not too m"ch

to s"pport th%t+ it C"st seems li!el$ )or his person%lit$ t$pe %nd ho people li!e him

%ge %nd gro. Aside )rom th%t hoe,er+ there is re%ll$ not % h"ge %rc ith his

ch%r%cter.

D. B5 &or$

%. %te teens *. M%le

c. Tro$9 7is )%ther. 7e h%s % ,er$ str%ined rel%tionship ith his )%ther+ hich is

especi%ll$ e,ident hen Tro$ !ic!s him o"t/ &or$ le%,es <?5.Rose9 7is mother. I )eel th%t Rose is tested in her rel%tionship ith &or$. n one h%nd

he is her son+ %nd she lo,es him "ncondition%ll$+ *"t I thin! th%t &or$ %s right hen

he s%id It eighed on $o" %nd s"n! into $o"r )lesh3 ?5. Reg%rdless o) h%t Rose

s%$s+ there %s de)inite str%in *ec%"se o) Tro$#s temper. This c%"sed her to not de%l

ith &or$ to the *est o) her %*ilities.

$ons9 7is h%l)-*rother. There is de)initel$ some %!%rd )eelings in this

rel%tionship *ec%"se the$ %re not )"ll$ rel%ted. $ons tries his *est to *e % good *rother to &or$+ %s mentioned %*o,e+ *"t &or$ ne,er seems to reciproc%te.

;%*riel9 There is %lso not too m"ch in terms o) inter%ction+ &or$ mostl$ ignores

;%*e#s comments or does not respond.

R%$nell9 There is de)initel$ tension in the )in%l scene *ec%"se R%$nell is his )%ther#s

d%"ghter. &or$ )eels th%t this girl is h%t is le)t o) his )%ther+ so there is some ,er$

held *%c! )eelings "ntil the$ *egin to sing together ??5

d. Bono9 As ith $ons+ this rel%tionship is mostl$ nothing *"t polite greetings 15.

e. At the st%rt o) the sho+ he is onl$ % high school st"dent+ then mo,es to % gr%d"%te+

then *ecomes % &orpor%l in the M%rines ?15. As he is in the M%rines+ he pro*%*l$

does not re%ll$ h%,e too m"ch o) % st%nding in societ$. 7e is o)ten not directl$

in,ol,ed ith people o"tside o) the M%rines.). B$ the end o) the sho he is pro*%*l$ not someone th%t the p"*lic o"ld %ssoci%te

ith. Most people ere not in )%,or o) the in,ol,ement in Gietn%m+ hich &or$

o"ld h%,e li!el$ *een in,ol,ed in.

g. 7e pro*%*l$ is gr%te)"l th%t he %s no longer in % toic ho"sehold+ *"t he m%$ regret

le%,ing his mother. ther th%n th%t+ I c%nnot see him h%,ing %*$ other sel)-do"*ts.



h. As his he%lth is not st%ted otherise he is li!el$ in per)ect he%lth. As he is *eing

sco"ted )or college )oot*%ll+ his is li!el$ in ,er$ good sh%pe+ %nd the )%ce th%t he Coins

the M%rines %lso pl%$s into this.i. Ag%in+ % norm%l Americ%n presidenc$+ hoe,er+ he pro*%*l$ h%s more )%ith in his

go,ernment+ *eing % p%rt o) the %rmed )orces.

C. 7e is pro*%*l$ moder%tel$ religio"s+ li!el$ r%ised B%ptist or Protest%nt. I c%n see hime%ring % cross "nder his "ni)orm+ or pr%$ing *e)ore he does something d%ngero"s.

!. 7e is pro*%*l$ more conser,%ti,e hen it comes to rel%tionships+ %s he pl%ns to get

m%rried ?D5. 7e ,%l"es )%mil$+ *"t !nos th%t his )%mil$ m"st deser,e his respect.

l. 7e is pro*%*l$ orient%ted in % sm%ll %$+ ne,er one )or l%rge crods+ %nd sees the

orld %s % )rightening pl%ce.

m. From the *eginning o) the pl%$+ he is ,er$ s"*missi,e to Tro$. 7is decision to le%,e

%nd not ret"rn *rings "p %n interesting d$n%mic *eteen himsel) %nd Tro$. The

di))erence *eing th%t %)ter &or$ le)t+ he *ec%me ell-%dC"sted %nd so"ght to *ecome %

*etter person th%n his )%ther h%d.

4. Wh%t h%ppened *e)ore the pl%$ *eg%n'

%. $ons h%s de)initel$ %s!ed )or mone$ )rom Tro$ *e)ore.i. TR89 8o" %s in the neigh*orhood %lright+ nigger. 8o" telling the tr"th

there. 8o" %s in the neigh*orhood c%"se it#s m$ p%$d%$. 8(9 Well+

hell+ since $o" mentioned it> let me h%,e ten doll%rs3 145.1. From this scene it is ,er$ e,ident th%t this is % common occ"rrence

%nd Tro$ does not %ppreci%te it.

*. &or$ h%s *een shon interest in *$ % )oot*%ll recr"iter.i. &R89 Hid $o" tell him %*o"t the recr"iter'3 2?5.

1. ince &or$ did not tell his )%ther himsel)+ it implies th%t he !nos

his )%ther ill not *e h%pp$.

@. F"nctions o) &h%r%cters%. Prot%gonist9 Tro$

i. Tro$#s prim%r$ re%son )or eisting is to represent the things th%t )%milies

do to %nd )or e%ch other.

1. Most o) Tro$#s %ctions %re things he does to his )%mil$9

%. P"tting his *rother %%$.i. &R89 It %in#t $o"r $%rd. 8o" too! :ncle ;%*e#s

mone$ he got )rom the %rm$ to *"$ this ho"se %nd

then $o" p"t him o"t3 <=5.

*. Thre%tening his son.i. TR89 I) $o" don#t get on the other side o) th%t

$%rd> I#m gonn% sho $o" ho cr%$ I %mE3 <=5c. Telling his i)e he#s )%thering %nother om%n#s child.

i. TR89 I#m gonn% *e % d%dd$. I#m gonn% *e

som*od$#s d%dd$.3 5.

d. 7e is ildl$ )l%ed+ *"t he is the c%t%l$st )or %lmost %ll o)

the %ction. This le%ds to the concl"sion th%t he is the

prot%gonist.

*. Ant%gonist9 &or$



i. Almost p"rel$ *ec%"se he is the )oil to Tro$.

1. It is eird to %dmit+ *"t &or$+ one o) the most li!e%*le ch%r%cters+

%nd the one e ere %ll rooting )or+ is the %nt%gonist. It is entirel$

*ec%"se he is the one to )ight Tro$.

%. “(CORY and TROY struggle over the at! The struggle is

"ierce and "ull# engaged! TROY untimatel# is the stronger$and ta%es the at "rom CORY and stands over him read# to

s&ing! 'e stos himsel"!) TR89 ;o on %nd get %%$ )rom

m$ ho"se3 <<-<?5c. econd%r$ &h%r%cters9

i. Rose9 he ser,es to *e %n en%*ler )or Tro$#s *eh%,ior. 8es+ she o*Cects to

cert%in *eh%,ior%l p%tterns he h%s+ *"t she ne,er stops him )rom ridding

&or$ )rom the ho"se or che%ting on him.1. R9 I didn#t !no to !eep "p his strength I h%d to gi,e "p little

pieces o) mine. I did th%t3 ?<5. he %dmits to %lloing him to do

h%t he %nts *ec%"se she %s h%pp$ in the m%rri%ge+ no m%tter

h%t those conse6"ences ere.ii. $ons9 $ons pro,es contr%st in the e))ect Tro$#s st$le o) p%renting c%n

h%,e on his children.1. 8(9 ee+ Pop> i) $o" gi,e some*od$ else % ch%nce to t%l!

sometime+ $o"#d see th%t I %s )iing to p%$ $o" *%c! $o"r ten

doll%rs li!e I told $o"3 45. 7is "se o) ords li!e Pop3 %nd the

tone o) e%sper%ted h"mor re%ll$ con,e$ th%t $on re%ll$ does lo,e

his )%ther. 7e h"mors Tro$#s %nger %nd %ttit"de+ here%s &or$ does

not.

iii. Bono9 Bono ser,es )or Tro$ to con)ess his in)idelit$ to Rose.

1. B(9 Wor! it o"t right+ Tro$. I don#t %nt to *e getting %ll "p in$o" %nd Rose#s *"siness> *"t or! it o"t so it come o"t right3

45.

i,. ;%*e9 ;%*e ser,es+ in % %$+ %s % sort o) prophet o) Tro$#s )%te.1. ;ABRI9 Tro$> t. Peter got $o"r n%me in the *oo!. I seen it3

25. ;r%nted+ these %re the r%nts o) someone ho is cle%rl$ not

ment%ll$ ell+ *"t )re6"entl$ in liter%t"re+ these %re the t$pe o)

people ho %re )oresh%doing. o+ in m$ opinion+ ;%*e is re%ll$ %

de,ice emplo$ed *$ Wilson to sne%! in some )oresh%doing %*o"t

Tro$#s )%te.,. R%$nell9 R%$nell is+ to me+ % de,ice th%t is "sed to gi,e Rose some

s$mp%thetic notions+ %s ell %s *e % ph$sic%l reminder to the )%mil$ %*o"th%t their )%ther h%s done. Reg%rdless+ Rose decides to r%ise R%$nell %s

her on %nd tr$ %nd mo,e on )rom the p%st+ hich co"ld *e considered the

m%Cor theme o) the pl%$. R9 >*"t I too! to R%$nell li!e she %s %ll

them *%*ies I h%d %nted %nd ne,er h%d. i!e I#d *een *lessed to reli,e %

p%rt o) m$ li)e. And i) the ord see )it to !eep "p m$ strength> I#m gonn%

do her C"st li!e $o"r d%dd$ did $o"> I#m gonn% gi,e her the *est o)



h%t#s in me3 ?<5. Reg%rdless o) hether I %gree ith the concl"sion th%t

the ch%r%cters come to+ I m"st respect A"g"st Wilson )or riting them this

%$.. Hi%log"e

%. I )eel th%t %ll the ch%r%cters in this pl%$ spo!e in di%log"e th%t %s incredi*l$ re%listic

in reg%rds to ch%r%cter %nd time period.i. &or$ %s!s $ons9 7o m"ch time $o" doing'3 ?45 hich is % per)ectl$

,%lid prose to "se in % non-)orm%l setting.

ii. $ons %s!s9 Where#s P%p% %t'3 <05 Which )ollos logic%ll$ the )orm o)

l%ng"%ge "sed *$ A)ric%n Americ%ns in the 1?@0#s %nd 1?0#s.

iii. A third e%mple o"ld *e hen &or$ is compl%ining %*o"t Tro$9 P%p%

done ent "p to the school %nd told &o%ch ellm%n I c%n#t Pl%$ )oot*%ll

no more3 @=5. Ag%in+ I#m C"st repe%ting m$sel)+ *"t this t$pe o) l%ng"%ge

is per)ectl$ re%listic in terms o) period %nd ch%r%cters.

*. The "se o) re%lism in prose C"st %mpli)ies the re%list tone th%t this pl%$ h%s. It m%!es

the ch%r%cters re%l+ the sit"%tions re%l+ %nd the orld re%l. It *rings signi)ic%nce to the

sho. 7%d the prose *een % di))erent st$le+ the sho o"ld seem "nn%t"r%l %nd

%rti)ici%l. It o"ld not h%,e h%d ne%rl$ the imp%ct th%t the re%lism pro,ides.

=. The Method

%. 7istor$i. $ons9 From his *irth+ Tro$ %s not % *ig p%rt o) his li)e. 7is mother

mo,ed )rom m%n to m%n+ rel$ing on hoe,er o"ld s"pport her )or the

time *eing. $ons ne,er )elt the need to *ecome %tt%ched to %n$one %s %

)%ther )ig"re. (ot %ttending school+ he relied on his mother %nd % )e other

omen he !ne %ro"nd the neigh*orhoods here he spend % decent

%mo"nt o) time to te%ch him to re%d %nd rite %nd do some simple m%th.

7e le%rned 6"ic!l$+ *"t ne,er so"ght %n$ )"rther ed"c%tion. It %sn#t "ntil% m%n don the street t%"ght him to pl%$ the g"it%r th%t he decided he

lo,ed m"sic. At the %ge o) 1D+ $ons st%rted le%rning to pl%$. Tro$ %s

rele%sed )rom C%il % )e $e%rs l%ter %nd tried to *ecome % presence in

$ons# li)e+ *"t $ons ne,er so"ght o"t % p%tern%l rel%tionship ith Tro$.

$ons m%de his %$ thro"gh his teen%ged $e%rs %nd into his tent$

somethings *eing in,ol,ed ith omen )or % )e months %t % time+ then

mo,ing on hen his *%nd o"ld pl%$ %t % ne *%r. 7e *eg%n to gro *%c!

into Tro$#s )%mil$ %ro"nd 2< hen his mother died. ,er since then+ the

*ond *eteen Tro$ %nd $ons h%s not *een %s )%mili%l %s most )%ther-son

rel%tionships.

ii. &or$9 &or$ %s %l%$s ell *eh%,ed. 7e !ne h%t o"ld h%ppen i) he

%sn#t. From the e%rliest memories he h%s+ his )%ther %s %l%$s % ,er$

strong illed person+ *"t he %l%$s c%me thro"gh )or &or$. ;roing "p+

&or$ h%d di))ic"lt$ le%rning to re%d %nd rite+ *"t e,ent"%ll$ m%de it

thro"gh his )irst )e $e%rs o) ed"c%tion. As % $o"ng *o$+ &or$ le%rned

6"ic!l$ to not get in his )%ther#s %$. 7e h%d *een t%"ght % lesson or to.

B$ the time he re%ched high school+ &or$ %s ,er$ ell *eh%,ed. All o)



his te%chers %dmired th%t. 7e *eg%n to pl%$ )oot*%ll his sophomore $e%r+

hen his )%ther still %lloed him )ree time. Thro"gho"t his C"nior $e%r+

Tro$ press"red him more %nd more to 6"it %nd get % Co* to st%rt e%rning

some %ges. &or$ !ne th%t his mother o"ld s"pport him+ %s long %s he

%sn#t directl$ going %g%inst his )%ther#s ishes.

*. Moti,%tions9i. $ons9 In the )irst scene his moti,%tion is p"rel$ to get mone$ )rom his

)%ther.

1. 8(9 Well+ hell+ since $o" mentioned it> let me h%,e ten

doll%rs3 145.

ii. In the second scene he is in+ he %nts to ret"rn the mone$ to Tro$ to pro,e

his origin%l intention %s to onl$ *orro the mone$.

1. 8(9 ee+ Pop> i) $o" gi,e some*od$ else % ch%nce to t%l!


doll%rs li!e I told $o"3 45.

iii. 7is intentions %re re%ll$ not rele,%nt in the l%st )e scenes %s he C"st

%ppe%rs %nd pro,ides % )e comments+ *"t )or the most p%rt+ he is tr$ing to

%ct norm%ll$ %ro"nd his )%mil$+ especi%ll$ in moments on discom)ort.

1. 8(9 With his arm around RAYNELL) &or$> loo! %t

R%$nell. Ain#t she precio"s' he gonn% *re%! % hole lot o)

he%rts.3 ?25. This t%!es pl%ce %t the )"ner%l here &or$ is cle%rl$

"ncom)ort%*le+ *"t $ons %nts to help *$ tr$ing to t%l! %*o"t

something seet %nd ple%s%nt.

i,. &or$9 In his )irst scene+ &or$ is re%ll$ tr$ing !eep his )%ther )rom

*ecoming %ngr$ %t him *$ *ringing "p m"ltiple )%cets o) con,ers%tion.

1. &R89 The Pir%tes on tod%$. Th%t m%!es )i,e in % ro3 DD5 %nd

&R89 7e$+ Pop> Wh$ don#t $o" *"$ % TG'3 D15. These%ttempts to ch%nge the co"rse o) the con,ers%tion %%$ )rom his

)oot*%ll pr%ctice %re cle%r indic%tions o) his moti,%tions.

,. In the second scene+ &or$ is tr$ing to m%!e his point th%t h%t Tro$ did

%s rong.

1. &R89 Wh$ $o" %nn% do th%t to me' Th%t %s the one ch%nce I

h%d3 @=5. This co"ld %lso *e "sed to dr% p%r%llels *eteen Tro$#s

%ttempts %t *%se*%ll %nd &or$#s shot %t )oot*%ll.

,i. I thin! in &or$#s )in%l scene ith Tro$+ his moti,%tion is to )in%ll$ *e%t

Tro$. 7e h%s h%d eno"gh o) the torment %nd )r"str%tion+ %nd he

legitim%tel$ %nts to in.

1. &R89 I %in#t going nohereE &ome on> p"t me o"tE I %in#tsc%red o) $o"3 <<5. &or$ h%s h%d eno"gh. 7e simpl$ %nts it to

end+ %nd he ill do h%te,er he needs to do to m%!e it end.

c. ;o%ls9

i. $ons9 I thin! $ons prim%r$ go%l is to !eep % someh%t norm%l

rel%tionship ith his )%ther.

1. 8(9 ee+ Pop> i) $o" gi,e some*od$ else % ch%nce to t%l!




doll%rs li!e I told $o"3 45. Ag%in+ his tone %nd "se o) Pop3 %re

indic%tors th%t he %nts the rel%tionship to *e % positi,e one+ %nd

he %nts to pro,e it to Tro$+ *"t it still seems % little %!%rd %nd

)orced.ii. &or$9 I thin! &or$ re%ll$ C"st %nts to li,e his on li)e.

1. When &or$ is de)e%ted *$ Tro$+ he som*erl$ %l!s %%$ %nd s%$s9Tell M%m% I#ll *e *%c! )or m$ things3 <?5. 7e decided th%t this

%s it+ he %s no longer in control o) himsel) in this ho"sehold+ so

he decided to remo,e himsel). (o h%t it s%$s th%t he Coined the

M%rines' Th%t is % hole di))erent stor$.

d. "pero*Cecti,e9i. $ons9 Rel%ted to his go%ls+ I thin! his s"pero*Cecti,e is to preser,e the

)%mil$ he h%s le)t.1. 7is %ttempts %t norm%l con,ers%tion on the d%$ o) the )"ner%l

re%ll$ c%pt"re this. Hoesn#t he loo! good+ Mr. Bono'3 or loo! %t

R%$nell. Ain#t she precio"s'3 ?25 %re C"st )"tile %ttempts to gr%sp

something norm%l. 7e doesn#t %nt to slip into something %long

the lines o) his childhood.

ii. As )or &or$+ I thin! his s"pero*Cecti,e is to *ecome his on person.1. This is per)ectl$ em"l%ted in his line9 I don#t %nt to *e Tro$

M%son. I %nt to *e me3 ?=5. 7e+ "nli!e $ons+ %nts to remo,e

himsel) )rom Tro$. I thin! this comes )rom the )e%r th%t he might

t"rn o"t the s%me %$.

Character Analysis of Fences

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