Transcript A Raisin in the Sun (1959) by Lorraine Hansberry (1930

A Raisin in the Sun (1959)
by
Lorraine Hansberry (19301965)
Part I and II of II
Langston Hughes’s “Dream Deferred”
Intertextuality
Talking Points
Dream Deferred
What happens to a dream
deferred?
Does it dry up
Like a raisin in the sun?
Or fester like a sore-And then run?
Does it stink like rotten
meat?
Or crust and sugar over-like a syrupy sweet?
Maybe it just sags
like a heavy load.
Or does it explode?
1)
Would you characterize Hughes poem as more
of a meditation than a stringent warning or vice
versa? Either way, is Hansberry’s project in-line
with that of Hughes’s poems?
2)
Why do you think Hansberry chose a title for her
play that would (almost automatically) make an
inter-textual reference to Hughes’s poem? In
other words, what purpose(s) are served by this
intertextuality?
3)
There are many deferred dreams in A Raisin in
the Sun? Name (at least) one deferred dream
for each of the play’s character and one dream
deferred that all the characters share and/or
realize? Which dry up? Which fester? Which
stink like rotten meat? Which sag like heavy
loads? Which ones explode and how would you
characterize the aftermath of the explosion?
How does pride, dignity, and self-worth play into
all of this?
The Genre and Theatrical Conventions of
A Raisin in the Sun
MARXIST SOCIAL REALISM
Maxim Gorky (1869-1936)--the originator
John Reed (1987-1920)--the American Marxist
Missionary
Social Realism developed as a reaction against the philosophical vogue of German
idealism and the literary vogue of French Romanticism.
As the harmful consequences of the Industrial Revolution became increasingly
apparent; urban centers grew, and slums proliferated on a new (never before
seen) scale contrasting with the display of wealth of the upper classes.
With a new sense of social consciousness, the Social Realists pledged to “fight the
beautiful art” with any style which appealed to the eye or emotions. They tended,
though, to focus on the ugly realities of contemporary life and sympathized with
working-class people, particularly the poor. They professed to record what they
saw (“as it existed”) in a dispassionate manner. Richard Wright’s NATIVE SON is
perhaps the most well known example of African American Marxist Social Realism,
but Hansberry’s play runs, arguably, a close second.
Domestic Drama and Socialist Realism
•
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•
•
Nineteenth century drama took the complete step in
incorporating realism into drama, thus resulting in more
serious and philosophical drama. Characters and settings
gradually developed into the realistic truths of the current
society. Along with realism was naturalism or “selective
realism emphasizing the more sordid and pessimistic
aspects of life.”
The twentieth century introduced symbolism into the
makings of domestic dramas, ultimately causing
variations within domestic drama. Early twentieth
century shows incorporated minimal scenery, telegraphic
dialogue, talking machines, and characters portrayed as
types rather than individuals. Domestic drama suddenly
became a combination of naturalism, expressionism,
symbolism, and commonly treated psychological affairs.
Modern dramas usually revolve around psychological,
social, or political affairs, all of which seem to have their
roots in domestic drama. Using ita interpretive ideas,
such as “distinctive voice and vision,” stark settings,
austere language in spare dialog, meaningful silences, the
projection of a powerful streak of menace, and outbursts
of real or implied violence.
Domestic drama also carries the implications of current
affairs with society: such as civil rights, feminism and
current political and sociological disputes.
Talking Points
1)
How does A Raisin in the Sun (or the
film A Raisin in the Sun) conform to
the tenets of the domestic drama, and
in what significant ways does it depart
from them?
2)
Is A Raisin in the Sun a “pessimistic
play”? If so, why? If not, why?
3)
If domestic drama is typically invested
in “psychological affairs,” what
“psychological affairs” are Hansberry’s
focal points. Are they uniquely African
American? If so, how and why is that
the case?
4)
What social and political affairs are at
stake besides integration in A Raisin
in The Sun? (Think about black
nationalism, internationalism. Local
politics in Chicago, etc.)
Lorraine Hansberry: Playwright, Social Agitator, and the Radical You Never
Knew
“All art is Ultimately Social: that which agitates and that which prepares the mind
for slumber”
1)
2)
Born in 1930 in Chicago
W.E.B. Du Bois, Paul Robeson, Langston Hughes, Duke Ellington, and others were frequent
visitors in her childhood home.
3)
In her early 20’s, Hansberry was a leader of the Communist Youth Movement.
4)
As a child, her family moves to an all-white suburb in Chicago: a “hellishly hostile white
neighborhood.” Her father’s refusal to vacate the Washington Park Subdivision of the South
Side of Chicago led to a key victory in the Civil Rights Movement when the Supreme Court
found in his favor (Lee vs. Hansberry)
5)
1948- Attends University of Wisconsin at Madison and becomes active in various incarnations
of Communist youth groups
6)
At the New School, Hansberry takes a class from Du Bois on colonialism.
7)
1959 “A Raisin in the Sun” opens in Philadelphia
8)
The play runs 530 time on Broadway
9)
It is the most successful play written, to date, by an African American and the first play written
by an African American woman to appear on Broadway
10)
Joins the Daughters of Bilitis in 1957 (the nation’s first lesbian organization) and also
advocates for abortion rights and an independent Africa
11)
She dies, quite young, in 1965.
Other Works
1)
The Drinking Gourd (1960)
2)
The Movement: Documentary of a Struggle for Equality (1964)
3)
The Sign in Sidney Brustein’s Window (1965)
4)
To Be Young, Gifted, and Black: Lorraine Hansberry in Her Own Words (1969)
Some of The Play‘s Key Themes and
Symbols
Themes
1)
Black Masculinity and Black Femininity
2)
Capitalism, Labor, Acute Ghettoitis, Marxism, and the American Dream
3)
Pan-Africanism , Atavistic Primitvism, and Black Nationalism
4)
The Obligation for Self-Fulfillment and its balance with the Obligation to Support Family and Race
(Communal-Fulfillment): The Inter-generational tranfer of wealth and value
5)
Matriarchy and the role its plays in a unique and perhaps dangerous African American Christianity
6)
Assimilation, Radicalism, and their relationship to Heritage
7)
Independence and Pride v.s. Communal Indebtedness
8)
Self-Expression and Self-Realization v.s. Communal-Expression and Self-Realization
9)
Inter-generational transfer of wealth/value(s) and Continuity
10) Mental and physical migrations
11) The Black Family as both Patriarchal and Matriarchal
12) Self-Expression v.s. Communal-Expression
13) Chicago as National Microcosm
Realist symbols
1)
Rats. (The rat trap and the toothless rat) What other famous portrait of the racist machinery of
Chicago real-estate invoke?
2)
Lena’s plant: a little too obvious?
3)
Sunlight
4)
Clothing
5)
Hair
6)
Light
7)
Dreams
Masculinity, Emasculation, and Performing the Feminine
and
Reading “Playing” in Plays
Talking Points
1)
What are the multiple resonances,
with respect to the Black
Matriarchal family, of Walter Lee’s
assumption that Mama will listen
to Ruth about the store but not
him?
2)
Notice that Hansberry has inserted
the stage direction (Ignoring her)
before Walter Lee launches into
his “loudmouth” rant about
needing to be backed up by a
woman. What are the multiple
ironies at work here?
3)
Walter, in essence, plays Ruth in
this scene, assuming his
performance (were he Ruth) would
convince Mama to allow him to
invest? What does his
performance (given the fact that,
later, Ruth does ask and Mama
still says no) suggest about how
he feels about them and where
they should be positioned both in
society and within the family?
4)
Walter buys into a version of the
American dream that accepts
corruption as a given. Success, in
other words, is generally a product
of crime? What economic critique
is Hansberry leveling with this
detail?
5)
Eat you eggs! Emasculation,
Empowerment, reproduction,
abortion.
Talking Points
Capitalism, Labor, and Leisure
Reading Telling Contradictions
1)
Ruth tells Mama of Walter’s desire and
feelings about investment and
advancement with particular respect to
“colored people”? She also relates
that this necessitates, in Walter’s eyes,
a gamble. Consider the American
dream and the myth of Horatio Alger?
What commentary is Hansberry
making about labor on the one hand,
and “owners” (investors) on the other?
If the owners are gamblers are they
really living out the American dream?
If not, what are they doing?
2)
Mama makes a distinction here
between business people and plain
working folks. In the end, her
statement turns out to be true. What
might Hansberry be trying to suggest
(given the totality of events) about
labor and economics in this play?
3)
The “color line” asserts itself into a
conversation about labor in a very
intriguing way here. How do Mama’s
flu remarks speak to the theme of
assimilation at work in the play?
4)
Consider Ruth’s suggestion. For her,
wealth is leisure (potentially) here.
What commentary is Hannsberry
making about wealth (with respect to
labor and leisure) with this line?
5)
Think of two ways to play mama’s line
10,000 dollars. What dramatically
different suggestions could the actor
make?
Pan-African Solidarity, Atavistic
Primitivism, and the Possibility of Black
Nationalism
Reading WTF? Moments
“OCOMOGOSIAY!” is a Yoruban chant
that “welcomes the hunters back to the
village."
"Owimoweh" is the title of a Yoruban
chant, referring to the waking of the
lion.
Talking Points
1)
How do Walter’s and Beneatha’s actions in
this scene speak to heritage, and how do
they manifest atavistic primitivism? What
is Hansberry trying to suggest with all of
this?
2)
Notice that the stage directions repeatedly
point to “things we cannot see” and lighting
that suggests Walters imagination, Also
notice that when this happens, the stage
directions tell us the “inner Walter is
speaking; the Southside chauffeur has
assumed an unexpected majesty” In what
way is Hansberry sly distancing herself
from iterations of atavistic primitivism and
to what ends? In other words, what is this
inner an atavistic construct?
3)
George brings matter to an abrupt halt
here. How does his rejection of Walter’s
brotherhood speak to Hansberry’s
messages about black nationalism and
and internationalism? (Keep in mind that
George is a rich shmuck.)
5)
Why a record? Why not just drumming?
What is Hansberry suggesting about the
possibilities pitfallls and successful modus
operandi of Du Boisian Pan-Africanism
with all of this?
Inter-generational Transfer of Value(s)
Talking Points
1)
Walter Lee has grown-up with his “face pressed
against the glass” (as we see in his monologue).
Mama, on the other hand, grew up in an
environment of racial terrorism (left the South)
and seems, at times, all too content with her lot.
How might proximity to wealth/leisure help to
account for the thing that’s “changed” which
Mama so laments?
2)
Consider the multiple ironies of the line “Once
upon a time freedom used to be life--now it’s
money.” How do these ironies (or do they)
support Walter’s notion that it was “always
money, Mama. We just didn’t know about it.”?
3)
Walter is certain Ruth would never consider an
abortion, and Mama is immediately suspicious
(in this sense Walter can be said to have
internalized his parents’ professed values more
fully than they have). Mama does not condemn
Lena, though, for what might happen. Instead,
she blames Walter for not doing more to stop
her, calling him a disgrace to his father’s
memory. Why does Walter remain silent? How
does his silence actually complicate Mama’s
statement? (Keep in mind Walter Lee’s father’s
motto about dreams and children) How does
this help us to recontextualize Walter’s silence?
4)
If Walter is a disgrace to a memory, what
memory is he disgracing? How might not
pursuing economic success also be a betrayal of
not only his father’s memories, but of his father’s
dreams?
Talking Points
“In my mother’s house…”
Close Reading More Inter-textuality
John 14:2
In my Father's house are
many mansions: if it
were not so, I would
have told you. I go to
prepare a place for you.
Mathew 5:38-42
Ye have heard that it
hath been said, An eye
for an eye, and a tooth
for a tooth: But I say
unto you, That ye resist
not evil: but whosoever
shall smite thee on thy
right cheek, turn to him
the other also. And if any
man will sue thee at the
law, and take away thy
coat, let him have thy
cloak also. And
whosoever shall compel
thee to go a mile, go
with him twain. Give to
him that asketh thee,
and from him that would
borrow of thee turn not
thou away.
1)
In light of Matthew’s Gospel-clearly invoked and inverted
with the line “In my mother’s
house”--how in Beneatha
more “Christian” than her
mother in this scene?
2)
Keep in mind the following: A)
The Father’s house has many
mansions. B) The Younger
apartment is a rat-trap. C)
The new Younger home--the
mansion mama has prepared
for her children-- we know, will
be a type of hell. In light of all
this, how is Hansberry
positioning Beneatha’s Marxist
vision of religion? How does
this positioning (when
considered in light of Mama’s
rather non-Christian
“conversion”) make us think of
Mama (or more specifically
Mama’s religion) differently?
How does Mama’s decision to
hand-over the head of the
household (and to leave the
house) impact your
interpretation of all this?
3)
Does Mama really have a
counter-argument here
besides violence? What does
that imply?
4)
Notice the tension and
echoing between the lines “I
don’t accept” and “we ain’t
gonna have.” How does it
speak to the play’s vexed
positioning of a mandate for
self-fulfillment and familial
indebtedness?
Resistance, Heritage, Assimilation
Reading Miscommunication and
Contradiction
Talking Points
1)
Consider the ironic metatheatricality of George’s line (they
are in a play) as well as the
plethora of contradictions issuing
forth from him (e.g. “That’s what
being eccentric means--being
natural.” How does George’s
confused thinking bear witness to
Beneatha’s assertion that he is an
assimilationist Negro?
2)
Is there a similarity between the
fictional uncle “Uncle Tom” and
George the “fictional”
assimilationist? Are they not,
here, both fictions? Explore the
resonance of this question.
3)
Beneatha offers a “dictionary
definition” of assimilation straight
from the black-radical edition of
Websters. She then sets herself
apart from George by saying that
she, unlike him, embraces her
heritage? To what extent is
Beneatha full of “it”? Is she also
trying to assimilate? If so, how
so?
4)
Consider where Beneatha’a
knowledge of Africa comes from.
Is this the normal means by one
which establishes heritage? If
not, what is Hansberry trying to
suggest about the complex notion
of African-American heritage
here? (Don’t forget that
Beneatha, insofar as her family is
concerned, is rather close to
rejecting a heritage)
Talking Points
Home: Independence and Submission
Hansberry’s Micro and Macrocosmic
1)
Consider the first monologue on this page. How does
Asagai position death? Do you take his vision to be
“African” or something more? To what other kind of
thinking does Asagai’s monologue point and how might
he seen as a mouthpiece for Du Bois (who had, by this
time, become a Pan-Africanist socialist). How does his
demand for action from Beneatha figure into all of this?
2)
How does his request that Beneatha leave with him for
home complicate the notion of Asagai as “authentically
African” or Pan-Africanist?
3)
Asagai positions “home,” for Beneatha, as ancestral
origin. How does Mama’s earlier attempt to give
Asagai a “second home” (in combination with the fact
that Nigeria is NOT Beneatha’s home) frustrate the
discourse of lineage here? (Notice he even uses the
word “pretend”). How is Hansberry forcing the
audience to confront the idea that “going back home” is
not as easy as it seems and why is she doing it? How
does Asagai’s notion of a home in contant flux or
forward movement play a role in all of this (notice the
contradiction that arises in Asagai’s characterization of
Nigeria as a home of contant flux once he starts luring
Beneatha with mentions of “old songs”?
4)
Asagai has an “our people” and Beneatha, perhaps,
has two. How or are their two “our people” different?
5)
Asagai distances himself from Beneatha, arguably
belittling her as a young creature of the New World? Is
Asagai a creation of the New World? Why not?
6)
Asagai is rather aggressive and repressive in this
scene. He seems to almost want to capture Beneath.
What do you make of this? To what kind of PanAfricanism (that Du Bois’ rejected) point?
7)
Beneatha (a perhaps faux-”stand-in” for Hansberry
herself) seems to take all Asagai has to say as gospel.
Given all we’ve just discussed, what do you make of
her angry echoing of Asagai at Walter? Is she using
the term in the same way, in a different way, or both?
Explain.
Talking Points
Acting “Black” and
“Playing Black” in the Black Play
1)
Walter plays “darkie” in front his
family to Beneatha’s great shame.
Of course, here, Walter plays the
role to a hilt, but to what extent is
he simply dramatizing his every
day life (or what we know of it from
the play)?
2)
Is Walter playing at assimilation or
something else. If something else,
what?
3)
Once Walter acts-out a loss of race
pride, Beneatha delivers a heavily
charged line, “He’s no brother of
mine.” Explore the line’s multiple
resonances (noticing her later use
of the word “individual”) and those
of the phrase “a toothless ra”t?
4)
Why does Hansberry repeatedly
call attention to playing Black in a
Black play? What purposes are
served?
5)
How has death now come into the
house? How does this explain
why it didn’t when Walter’s father
died?
6)
Contrast Mama’s desires to “begin
again” with Asagai’s, Ruth’s,
Beneatha’s, and Lena’s desire to
move forward.
7)
Notice that Walter’s plan would
probably fulfill Beneatha’s dream
of becoming a doctor, but for her
the cost is to high? What is the
cost (or value lost)?
Talking Points
Pride, Manhood, Possession, Conclusion- Hope, Explosion,
or Pessimism?
The Deceptively Simplicity of Socialist Realism
1)
Things come to a rapid climax
(thematic wise) on this page.
Once Walter is said to have found
his “manhood” and asserts his
pride, the family departs “my
mother’s house”? What are the
multiply implications of this
departure (which is, notably, a
prideful ascent and fall)?
2)
What do you make of the notion
that once Walter finds his pride,
Beneatha’s wish to marry and go
to Africa appears little more than
childish to the rest of her family?
3)
Decode the symbol of Mama’s
plant. Why is it of such
importance that she take it with
her? (Remember that her other
“harvest” constitutes her children)
How does (if it does) the Lord’s
mercy figure into all of this?
4)
We have already noted that this is
far from a “happy ending.” In light
of their ambiguous fates, recall
both the social realist dictate to
“record what they saw as it” and
the resonances and suggestive
powers of Hughes’s poem. Is a
similar effect produced here? If
so, what is it? In other words,
how is this play a cry of revolt, and
why is that cry never quite heard
(remember the constraints of form
here)?