A RAISIN IN THE SUN…THEMATIC STRUCTURE (1)

The underlying theme of Hansberry’s Raisin is in the question posed by Langston Hughes’ poem “Montage of a Dream Deferred,” when he asks, “What happens to a dream deferred?” and then goes on to list the various things that might happen to a person if his dreams are put “on hold,” emphasizing that whatever happens to a postponed dream is never good. More simply, the question Hansberry poses in her play is, “What happens to a person whose dreams grow more and more passionate — while his hopes of ever achieving those dreams grow dimmer each day?” Even the Bible concerns itself with this problem; in Proverbs 13:12, we read: “Hope deferred maketh the heart sick; but when the desire cometh, it is a tree of life.” We see clearly what happens to Walter as his dream continues to be postponed by too many circumstances that are beyond his control.

Several other motifs are also successfully intertwined into this drama. Hansberry’s avant-garde concerns, her prophetic political vision, and her ability to perceive the future importance of events that few people in 1959 were even aware of are used as lesser motifs or minor themes throughout the play.

The issue of feminism is one such example. Three generations of women reside in the Younger household, each possessing a different political perspective of herself as a woman. Mama (Lena Younger), in her early sixties, speaks “matter-of-factly” about her husband’s prior womanizing. Ruth, about thirty, is more vocal about her feelings to her own husband than Mama was; still, Ruth is not as enlightened about a woman’s “place” as is Beneatha, who is about twenty and pursuing a career that, in 1959, was largely a male-dominated profession.

Much of the conflict between Beneatha and Walter revolves around Walter’s chauvinistic view of Beneatha. When Walter complains that Beneatha’s medical schooling will cost more than the family can afford, he bases his argument on the fact that since Beneatha is a woman, she should not even want to become a doctor. Walter’s resentment and anger erupts in Act I, Scene 1: “Who in the hell told you you had to be a doctor? If you so crazy ’bout messing ’round with sick people — then go be a nurse like other women — or just get married and be quiet.”

Beneatha’s defiance toward Walter is symbolic of her defiance toward all barriers of stereotype. She never yields to Walter and, in some cases, even goads him into a confrontation. Ruth’s advice to Beneatha is that she should just “be nice” sometimes and not argue over every one of Walter’s insensitive remarks. This advice is, of course, totally unacceptable to a character like Beneatha, to whom feistiness is a virtue and docility a “sin.” Whereas Ruth tries to change herself in order to please everyone in her life, most especially to please her husband, Beneatha insists that others accept her as she is. She makes it clear, early on, that she has no use for George Murchison because of his shallow beliefs. She makes it clear to Ruth that she doesn’t understand how anyone could have married someone like Walter. And she defies her mother on religious points; in fact, Mama has to slap Beneatha before she will back down. However, after Mama has left the room, Beneatha still says to Ruth that there is no God.

Mama is the “head of her household” only by default. She had to take charge after the death of Big Walter, whose name suggests that he was in charge of his family prior to his death. Mama appears to be always ready to hand over the reins to her son and let him be “head of the household” for one reason: He is a man. She entrusts Walter with the remaining insurance money because she feels that she has robbed him of his “manhood” by having done with the money what she thought was best. Mama is the type of woman who believes that the man should be in charge. Ruth apparently agrees, but Beneatha does not. Hansberry skillfully introduces issues of feminism that were not addressed as a political issue until a decade after the play’s Broadway opening.

Along with feminism, the theme of fecundity (fertility; being fruitfully prolific) is threaded throughout this play. Three generations of Youngers live in the same household; in addition, both Ruth’s possible pregnancy and her contemplation of abortion become focal points of the drama, and Mama’s reference to the child that she lost is emphasized. She does not merely mention Baby Claude in conversation; rather she dwells upon her loss dramatically.

At the beginning of the play, Ruth serves eggs — but not without getting into an argument with Walter over the eggs — which again accentuates the importance of this symbol of fertility to the play. In addition, toward the end of the play, we learn that Mama’s maiden name was Lena Eggleston, a name that underscores the theme of fecundity as much as the argument over eggs at the beginning of the play.

A related motif is the subject of abortion, which was taboo and illegal in 1959. Ruth considers an abortion in order to save her “living family” from further economic distress. The slightest reference to the word, however, sends the other family members into an emotional tailspin. Conflicts erupt between Mama and Walter, between Mama and Ruth, and between Ruth and Walter. Even Beneatha’s inadvertently callous response to Ruth’s pregnancy is “Where is it going to sleep? On the roof?” Other remarks are also proof that Beneatha’s views on unplanned pregnancy differ sharply from her mother’s. Mama says in exasperation: “We [are] a people who give children life, not who destroys them”; she would never agree to Ruth’s having an abortion.

Ruth is trapped both by poverty and by the knowledge that her relationship with Walter Lee is rapidly deteriorating. Walter, although surprised to learn that she is contemplating an abortion, is still too caught up with his “get-rich-quick” scheme to offer her emotional support. Ruth contemplates an abortion because she believes this decision would be in the best interest of her family. Whether or not Ruth will actually decide on an abortion is debatable, for Ruth says to Mama in Act I, “Ain’t no thin’ can tear at you like losin’ your baby.” Ruth says this as Mama is recounting the pain of having lost her own baby, Claude. At this point in the play, Ruth’s pregnancy has not yet been verified, but the dialogue spawned by the abortion controversy in this drama is as relevant today as it was in 1959, when the play opened.

Afrocentrism, or the expression of pride in one’s African heritage, so popular among the black youth of the 1990s, was, in 1959, a little-known phenomenon. But Lorraine Hansberry’s affinity for all things African resulted from the people of greatness that she was acquainted with through her family. Langston Hughes, for example, was a friend of her father’s and often came to the Hansberry home for dinner. Lorraine’s uncle, Leo Hansberry, a noted historian and professor, was the teacher of Kwame Nkrumah while he was a student at Howard University. (Kwame Nkrumah was the leader of the fight for freedom of the Gold Coast from British rule and became its first president in 1957. The British name “Gold Coast” was changed to the Republic of Ghana in honor of that ancient kingdom.) Hansberry’s knowledge and pride in her African heritage was a result of her family and her family’s associations, something of which few other blacks could boast.

TO BE CONTINUED

ACKNOWLEDGEMENT
http://en.wikipedia.org
http://www.sparknotes.com
http://www.gradesaver.com
http://www.cliffsnotes.com
http://www.shmoop.com
http://www.studyguide.org
http://www.enotes.com
http://www.eng.fju.edu.tw
http://www.vanderbilt.edu
http://neoenglish.wordpress.com
http://cummingsstudyguides.net
http://TheatreHistory.com
http://dramaonlinelibrary.com
https://therealchrisparkle.wordpress.com/
Regents English Prep Online

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