How Is Freytag's Pyramid Related To Fences

August Wilson’s Fences, written in 1985, follows Troy Maxson, in segregated Pittsburgh, Pennsylvania, during the 1950s. Fences is the third play in Wilson’s “Pittsburgh Cycle” which aims to tell authentic stories of Black Americans that are both relatable and educational. This cycle began in the 1900s and ended in the 1990s. Fences fell in the 1950s and tells a story related to the barriers or fences most Black Americans came up against at this time due solely to their Blackness. August Wilson, being a Black man himself, had grown up in the segregated Pittsburgh area during the fifties and experienced or at least witnessed much of what he discusses in this play. In this essay, Freytag's Pyramid and diverse sources from authors like Sandra G.

(1.4.236-248) The similarities between these two moments are a clear example of the damage generational curses caused in Black American families during this time. Both fathers had focused on putting fear into their family's hearts in exchange for respect, rather than supporting their families in the ways they needed. Troy and his father both created internal barriers that pushed their families even further away from living the American dream. Wilson’s decision to write that Troy did not use the bat on Cory suggests that Troy, at that moment, realized he had become very similar to his father, the man who, for the first half of his life, had held him back. This moment feels like an attempt at breaking a generational curse, but by the end of this moment, Cory and Troy’s relationship has officially boiled over and there will be no chance for recovery. This scene showcases the fact that for most Black Americans, once they had gotten to the root of generational curses, it was too late to fix the issues that arose because of it. As a result of Troy's actions, he loses his sons, his wife, his brother, his “mistress”, and eventually his

The death of Troy serves as Wilson’s falling action, which is, in the case of Fences, where things continue to devolve for the protagonist. Troy’s death ends up bringing his entire family, including his daughter, together in Act Two Scene Five. In this scene, relationships are both created and renewed. It is the day of Troy’s funeral in act two, scene five. Cory and Gabe, the people Troy had pushed away, have both come home, and Lyons, Rose, and Troy’s young daughter Raynell are already there. Cory attempts to tell Rose he will not be attending the funeral but then the two talk and it ends differently than Cory intended: CORY. Mama. I don’t know how to tell you this. I’m not going to Papa’s funeral. ROSE. Boy, hush your mouth.I raised you to come to this? You standing here all healthy and grown talking about you ain’t going to your daddy’s funeral? I don’t want to hear it Cory. You just get that thought out of your head. CORY. I can’t keep carrying Papa with me everywhere I