The Two Characters with Conflicts

August Wilson believed that conflict was at the core of each of his plays. His characters evolve in how they react to such conflicts, both internal and external. Consider the following quotation by the playwright:
“I see conflict at the center. What you do is set up a character who has certain beliefs and you establish a situation where those beliefs are challenged and the character is forced to examine those beliefs and, perhaps, changes.” (Interview with August Wilson)

In a clear, well-structured essay of approximately 850 words, identify two characters with conflicts and examine the way conflict changes them, for better or for worse. In what ways does each character’s response to conflict add meaning to the play?
Your essay must include a clear thesis that makes a contention, cited textual evidence, and a thoughtful discussion of the play in relation to the prompt. Outside research is not expected; however, a Works Cited page and proper in-text citations are required for all papers.
I made an outline, which contains a lot of quotes, and some quotes are very long, please cut them appropriately, and you don't need to apply every quote. But the main idea of the paragraph cannot be changed.
Outline:
Introduction:
Hook: about “conflict”
Summary:
Thesis: Deeply conflicted about their expectations for family obligations and perceptions of personal fulfillment, Troy and Cory both suffer tremendously in this tragic father-son relationship, manifesting how racial discrimination in the previous era has traumatized both generations as well as how super-masculinity can become toxic in destroying relationships.

Body paragraph 1:
Point: The conflict between Troy and Cory is first and foremost shown through their divergent expectations for family obligations.
Sub-point 1: Troy assumes that his role as a father is limited to his responsibility of providing material supports for his family members, whereas Cory yearns more for love, recognition and spiritual support.
Evidence: “CORY: How come you ain’t never liked me?
TROY: Liked you? Who the hell say I got to like you? What law is there say I got to like you? Wanna stand up in my face and ask a damn fool-ass question like that. Talking about liking somebody.”
“Don’t you eat every day?”“TROY: Got a roof over your head.””Got clothes on your back.”
“TROY: Like you? I go out of here every morning . . . bust my butt . . . putting up with them crackers every day . . . cause I like you? You about the biggest fool I ever saw.
(Pause.)
It’s my job. It’s my responsibility! You understand that? A man got to take care of his family. You live in my house . . . sleep you behind on my bedclothes . . . fill you belly up with my food . . . cause you my son. You my flesh and blood. Not ’cause I like you! ”


Sub-point 2: The motive behind Troy’s perception stems largely from his own experiences as a mistreated son in his adolescence and as a poor black person in early adulthood during the previous era when racial discrimination is harsh and rigid.
Evidence 1: how Troy has been mistreated by his own father
“He had them leather straps off the mule and commenced to whupping me like there was no tomorrow. I jumped up, mad and embarrassed. I was scared of my daddy. ”

Evidence 2: how Troy has gone to steal in order to survive
“Colored folks living down there on the riverbanks in whatever kind of shelter they could find for themselves. Right down there under the Brady Street Bridge. Living in shacks made of sticks and tarpaper. Messed around there and went from bad to worse. Started stealing. ”

Evidence 3: how Troy manages the family money carefully
“TROY: Two hundred and sixty-four dollars . . . cash money. While you thinking about a TV, I got to be thinking about the roof . . . and whatever else go wrong around here. Now if you had two hundred dollars, what would you do . . . fix the roof or buy a TV?”


Sub-point 3: (how the conflict changes them, for better or for worse?) Though Troy has done what he considers adequate for Cory, he is unable to make up the huge gap in their expectations. Such intense conflicts have distorted their relationship, leaving Troy unhappy and Cory disillusioned and resentful.
Evidence: “I don’t know if he was right or wrong . . . but I do know he meant to do more good than he meant to do harm. He wasn’t always right. Sometimes when he touched he bruised. ”


Body paragraph 2:
Point: Another major conflict between Troy and Cory lies in their different attitudes towards personal fulfillment.
Sub-point 1: Cory finds his passion for baseball while Troy makes every effort to thwart it.
Evidence:
“TROY: I thought we had an understanding about this football stuff? You suppose to keep up with your chores and hold that job down at the A&P. Ain’t been around here all day on a Saturday. Ain’t none of your chores done . . . and now you telling me you done quit your job.”
“You go on and get your book-learning so you can work yourself up in that A&P or learn how to fix cars or build houses or something, get you a trade. That way you have something can’t nobody take away from you. You go on and learn how to put your hands to some good use. Besides hauling people’s garbage.”
“CORY: I get good grades, Pop. That’s why the recruiter wants to talk with you. You got to keep up your grades to get recruited. This way I’ll be going to college. I’ll get a chance . . .
TROY: First you gonna get your butt down there to the A&P and get your job back.”

Evidence 2: Troy refuses to sign the paper by the recruiter

Sub-point 2: Troy’s stubbornness can be explained by his earlier experiences of racial discrimination in the sports world, again revealing him as a victim of racism.
Evidence:
“TROY: If they got a white fellow sitting on the bench . . . you can bet your last dollar he can’t play! The colored guy got to be twice as good before he get on the team. That’s why I don’t want you to get all tied up in them sports. ”
An additional interpretation of the symbolic meaning of fences can be added: Troy has been trying to fight racism, although society is changing, blacks have more opportunities, but he refuses to admit this change
“ROSE: Times have changed from when you was young, Troy. People change. The world’s changing around you and you can’t even see it.”

Sub-point 3: (how does such conflict change them both?) Troy’s failure to support Cory’s ideal has, on the one hand, resulted in the son’s resentment and the father’s regret, on the other hand, deprived Cory’s chance of entering college.
Evidence:
“RAYNELL: That’s what Papa call it. “Cory’s room.” It got your football in the closet.” (showing Troy’s regret)
“Your daddy wanted you to be everything he wasn’t . . . and at the same time he tried to make you into everything he was. ”


Body paragraph 3:
Point: it is accepted that Troy is mainly to blame for the tragedy of the Maxson family, and though August Wilson establishes him as a victim of racism, his super patriarchal ego has remained the center of the conflicts.
Sub-point 1: Troy assumes himself to be the boss of the family, demanding recognition for his authority from every family member.
Evidence:
“TROY: I don’t care what nobody else say. I’m the boss . . . you understand? I’m the boss around here. I do the only saying what counts.”

Sub-point 2: Such hubris deprives the possibility of a harmonious family environment and leaves in the young son’s heart a wish for rebellion and breakaway.
Evidence: when Cory refuses to say “excuse me”, Troy engages him in a fierce fight, finally causing the son to leave home.
“TROY: Oh, I see . . . I don’t count around here no more. You ain’t got to say excuse me to your daddy. All of a sudden you done got so grown that your daddy don’t count around here no more . . . Around here in his own house and yard that he done paid for with the sweat of his brow. You done got so grown to where you gonna take over. You gonna take over my house. Is that right? You gonna wear my pants. You gonna go in there and stretch out on my bed. You ain’t got to say excuse me cause I don’t count around here no more. Is that right?

“CORY: The whole time I was growing up . . . living in his house . . . Papa was like a shadow that followed you everywhere. It weighed on you and sunk into your flesh. It would wrap around you and lay there until you couldn’t tell which one was you anymore. That shadow digging in your flesh. Trying to crawl in. Trying to live through you. Everywhere I looked, Troy Maxson was staring back at me . . . hiding under the bed . . . in the closet. I’m just saying I’ve got to find a way to get rid of that shadow, Mama.”

Sub-point 3: besides tormenting others, Troy is himself burdened by his patriarchal ego.
Evidence:
“TROY: It’s just . . . She gives me a different idea . . . a different understanding about myself. I can step out of this house and get away from the pressures and problems . . . be a different man. I ain’t got to wonder how I’m gonna pay the bills or get the roof fixed. I can just be a part of myself that I ain’t never been.”