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In the 1964 play Dutchman by Amiri Baraka, officially known as Le Roi Jones, an enigma of themes and racial battles are blatantly exemplified within the brief period of the play. Baraka attacks the issue of racial stereotype symbolically throughout the connection of the drama's just issues, Lula and Clay. Baraka uses theatricality and dynamic personalities as a metaphor to portray an honest representation of racist stereotypes in the united states through both bodily and psychological acts of discrimination. Dutchman reveals Clay, an innocent African-American man enraged after he's tormented by the representation of an insane, illogical and explicit ideal of white supremacy known as Lula. Their encounter turns from sexual to deadly as both and others are all restricted within of a single urban subway cart. Baraka uses personality traits, symbolism and metaphor to exhibit the legacy of racial tension in the united states. The metro cart atmosphere is an instance of American symbolism. The underground underground cart is now an part of this drama's name; the flying Dutchman's haunted boat, however, it may also be seen as the case of American culture. The metro cart is a rendering of an enclosed space where people are forced to socialize. No matter race, gender and social class the metropolitan metro cart is a place of social stimulation. Passengers frequently go and enter anonymously, we view in the listing of characters "Riders of Coach, white and black" are contained in the dynamics of the subway cart collection. It is a tight and confined space trapped with a random sampling of people at any given time. Baraka uses this setting because the perfect atmosphere for two strangers to publicly interact. A totally natural place to meet someone new, like Clay and Lula. A.