Priscilla Soung 12G

'This farm stays in the family. It's a question of blood.' This text shows that even
the strongest family relationships are threatened by questions of Inheritance.
In society, family relationships are strained and indeed, threatened by issues of inheritance.
We see this reflected in Hannie Rayson's play Inheritance, which explores uncertainty about
who will inherit the land impacts upon even the strongest of relationships. Already strained
from issues relating to financial hardship and ingrained prejudices, the relationship between
the characters begin to sour and crumble as they jostle for ownership of the land and
vociferously propel the claims of those they perceive are 'most deserving.' Through
Inheritance, Hannie Rayson attempts to illustrate that even the strongest relationships are
not left untainted by tension; however, this tension is enhanced and the relationships
threatened when unresolved questions of inheritance emerge.
One relationship that is threatened is that between Dibs and Girlie. Despite sharing a strong
bond, questions of Allandale's future plague their relationship and render it fraught with a
high degree of tension. As with many characters, tension is present between the pair prior to
the revelation of Allandale's sale. An example of this tension is evident in act 1, scene 2,
where Dibs disregards Girlie's claim 'I hope you're not using blood and boneyou'll burn the
roots.' Dibs' dismissive response 'righto' and thus, her failure to take 'a jot of notice' reveals
that some level of conflict exists between the pair. Even at this point in the play, Rayson
attempts to show that Girlie feels proprietorial about the garden and is unwilling to
relinquish her claim on the family property. Rayson draws further attention to this thinly
disguised tension by having Girlie quickly change to topic of conversation to mask the
atmosphere of ill feeling.
This relationship becomes threatened when Girlie discovers that '[Dibs] is putting Allandale
on the market.' It is clear from Girlie's remark 'over my dead body she is' that the pair has
differing views on the future of Allandale; indeed, Girlie insists that 'it's a question of blood'
while Dibs believes 'it's my decision.' Nowhere is their relationship more threatened than in
act 1, scene 27, during which Girlie vociferously asserts that 'Allandale belongs to Lyle' and
attacks Dibs for her lack of communication. Accusingly, she attempts instil a degree of guilt
in her sister by reminding Dibs that 'you didn't bother to say anything to us. Your own
familyBugger you.' The tension builds as Girlie exposes the unspoken reality that Dibs was
'the princess;' the favoured one; and she, simply the other 'girl in blue.' She counters Dibs
dismissive approach by courageously affirming 'our mother did what you told her toShe
thought [Farley] was Christmas, so she signed over everything.' By referencing these prickly
issues in her dialogue with Dibs, Girlie successfully conjures a high degree of tension and

thus, pressures Dibs into confronting suppressed realities. She also threatens the stability of
their relationship, which is already peppered with (very) subtle but sour undertones.
Through the relationship between Girlie and Dibs, Rayson shows that even the strongest
family relationships have imperfections, and that unresolved issues of inheritance may
represent a catalyst for tearing people apart.
Aside from causing a rift to develop, Rayson also uses Girlie's assertion 'it's a question of
blood' to explore the notion of 'blood.' While both Girlie and Dibs adopt this perception by
the play's conclusion, they are all too ready to dismiss Nugget's blood claim to the land.
Nugget is, after all, related by blood to the original custodians of the fought-over land, yet
because 'he's not family' - because he lacks the blood connection of Lyle - he forfeits his
legal inheritance and, as some would argue, his moral inheritance of the land. Rayson's
analysis of what constitutes blood invites the audience to consider broader questions, such
as who owns Australia and must a blood tie always be present for one to be considered
family?

Another relationship that is threatened and consequently torn apart is that of Maureen and
Lyle. It is clear from the outset that their relationship is particularly tense; however, the
situation escalates when husband and wife disagree over unresolved issues of inheritance.
Maureen fervently believes that they must fight against the sale of Allandale; Lyle,
conversely, reasons that 'life is not fair' and that he must 'accept how the coin falls'.' If
Allandale is sold, Lyle will simply have to make 'the best of it.' Such diverging attitudes on
inheritance prompt the disintegration of the pair's relationship. They become embittered and
hostile to one another and any connection to their once strong bond is completely severed.
Through Lyle and Maureen, Rayson reinforces the concept that no relationship is without
problems. However, she also maintains that tension arising from questions of inheritance
may serve only to exacerbate these problems and ultimately, destroy the bond shared
between two people.
Although it could be argued that the relationship between Julia, Dibs and William is also
threatened, we are left to wonder whether Dibs' relationship with her children was ever
really strong. Certainly, her claim that 'I don't really like [William] that much' and her
description of Julia as 'too selfish by half' suggest she does not dote on her children as Girlie
does on Lyle. Similarly, some audience members may consider that Lyle and Nugget's
relationship disintegrates as a result of their competing claims for Allandale, but it is
apparent that racism dodged their relationship to a far greater extent that issues of
inheritance. Indeed, neither of the men appeared to pursue their own claim and instead
naively hoped that Dibs would be guided toward the 'morally right' decision.

Through the complex character relationships she has crafted, Rayson exposes the politicallyincorrect truth that, despite their shared inheritance, sometimes 'to be honest, [mothers]
don't really like [their children] that much.' This revelation prompts us to look back on the
play and question the significance of blood in relationships. We are invited to ask - were the
characters in Inheritance ever united by a strong bond? Do issues of inheritance threaten a
strong bond? How important is a blood-tie? And was the issue of inheritance merely the
catalyst to unearthing already shaky relationships? These are questions Rayson urges us to
consider by writing Inheritance and indeed, by exploring the impact of unanswered
questions of inheritance on our relationships.