A RAISIN IN THE SUN
Play Summary
This play tells the story of a lower-class black family's struggle to gain middle-class
acceptance. When the play opens, Mama, the sixty-year-old mother of the family, is
waiting for a $10,000 insurance check from the death of her husband, and the drama
will focus primarily on how the $10,000 should be spent.
The son, Walter Lee Younger, is so desperate to be a better provider for his growing
family that he wants to invest the entire sum in a liquor store with two of his friends.
The mother objects mainly for ethical reasons; she is vehemently opposed to the
idea of selling liquor. Minor conflicts erupt over their disagreements.
When Mama decides to use part of the money as a down payment on a house in a
white neighborhood, her conflict with Walter escalates and causes her deep anguish.
In an attempt to make things right between herself and her son, Mama entrusts
Walter Lee with the rest of the money. He immediately invests it secretly in his liquor
store scheme, believing that he will perhaps quadruple his initial investment.
One of Walter Lee's prospective business partners, however, runs off with the
money, a loss which tests the spiritual and psychological mettle of each family
member. After much wavering and vacillating, the Youngers decide to continue with
their plans to move — in spite of their financial reversals and in spite of their having
been warned by a weak representative of the white neighborhood that blacks are not
welcome.
About A Raisin in the Sun
Hansberry's recognition of the close relationship between art and propaganda is the
reason she chose the environment of the powerless as a backdrop for her work
about American culture. Her objective was to be a spokesperson for those who, prior
to Raisin, had no voice. The thought that anyone outside of the black community
would care about the struggles of a black family in Southside Chicago, prior to the
opening of Raisin, was all but preposterous. Not only did Hansberry choose as the
voice of her theme a black family (and a poor black family, at that), but she also
threaded information about Africa throughout the fabric of her play, mainly through
her most stable character, Asagai, Beneatha's suitor from Nigeria.
Through Asagai (and sometimes through Beneatha), the audience gains valuable
insight into African history, politics, art, and philosophy. Even the character of
George Murchison glorifies, by default, the ancient African civilizations when he
derisively mentions "the African past," "the Great West African Heritage," "the great
Ashanti empires," "the great Songhay civilizations," "the great sculpture of Benin,"
and "poetry in the Bantu." Although George is being facetious, still he uses
adjectives that praise and laud the accomplishments of a continent with which many
theatregoers, at the time of the opening of Raisin, were extremely unfamiliar.
To structure her drama, Hansberry utilizes the traditional classic European dramatic
forms: Raisin is divided into three conventional acts with their distinct scenes. Yet,
,Hansberry employs techniques of the absurdist drama — particularly in the scene in
which a drunken Walter Lee walks in on Beneatha's African dancing and is able to
immediately summon a memory which psychically connects him with an African past
that his character, in reality, would not have known. Walter Lee is able to sing and
dance and chant as though he had studied African culture.
Hansberry's skilful use of this momentary absurdity makes Walter's performance
seem absolutely plausible to her audience. Note also in this work that Hansberry
refers to an ancient Greek mythological titan, Prometheus, then makes a reference
to an icon of the American entertainment world, Pearl Bailey, and then a reference to
Jomo Kenyatta, a major African scholar and politician, yet there is no loss of
continuity because the audience is able to immediately perceive the connection.
Character List
Ruth Younger The thirtyish wife of Walter Lee Younger and the mother of Travis,
their ten-year-old son. Ruth acts as peacemaker in most of the explosive family
situations. Very low-key, Ruth reveals her strongest emotions only when she learns
of the possibility of their moving to a better neighborhood.
Travis Younger The ten-year-old son of Walter and Ruth Younger. Living in a
household with three generations in conflict, Travis skillfully plays each adult against
the other and is, as a result, somewhat "spoiled." In spite of this, he is a likeable
child.
Walter Lee Younger In his middle thirties, he is the husband of Ruth, father of
Travis, brother of Beneatha, and son of Lena (Mama) Younger. Walter works as a
chauffeur and drinks a bit too much at times. When he discovers that his mother will
receive a $10,000 check from his father's insurance, he becomes obsessed with his
dreams of a business venture which will give him financial independence and, in his
mind, will make him a more valuable human being.
Beneatha Younger The twentyish sister of Walter Lee and the daughter of Lena
Younger. She is a college student planning to go to medical school. The only family
member privileged to have the opportunity for a higher education, she is sometimes
a little overbearing in the pride she takes in being an "intellectual."
Lena Younger (Mama) The mother of Walter Lee and Beneatha, mother-in-law of
Ruth, and grandmother of Travis. Lena's (Mama's) every action is borne out of her
abiding love for her family, her deep religious convictions, and her strong will that is
surpassed only by her compassion. Mama's selfless spirit is shown in her plans to
use her $10,000 insurance check for the good of her family, part of which includes
plans to purchase a house in a middle-class white neighborhood.
Joseph Asagai An African college student from Nigeria, Asagai is one of
Beneatha's suitors. Mannerly, good looking, and personable, he is well liked by all
members of the Younger household.
George Murchison Beneatha's other boyfriend, he too is a college student. His
wealthy background alienates him from the poverty of the Youngers. Easily
,impressed, Ruth is the only member of the Younger household who naively
overlooks George's offensive snobbishness.
Mrs. Johnson Brash and abrasive neighbor of the Youngers, she insensitively
points out to the Youngers all the negative repercussions that await them should
they decide to move into the white neighborhood.
Karl Lindner A weak and ineffectual middle-aged white man, Lindner is the
spokesman for the white community into which the Youngers plan to move. He has
been sent to persuade the Youngers not to move into the white neighborhood. In
fact, he has been authorized by the white community to offer the Youngers a
monetary incentive not to move in.
Bobo The somewhat dimwitted friend of Walter Lee who, along with another friend,
Willy, plans to invest in Walter Lee's business scheme.
Two Moving Men Having no speaking parts, they enter at the end of the play to help
the Youngers move to their new neighborhood.
Walter Younger The husband of Lena Younger, father of Walter Lee and Beneatha,
and grandfather of Travis. His death before the action of Act I provides the insurance
money that will change the lives of the Younger family.
Willy The unscrupulous "friend" of Walter Lee and Bobo who absconds with all the
money for the prospective business venture. Although the audience never meets
him, Willy's character is assessed through the dialogue of others.
Summary and Analysis Act III
Summary
An hour later, having no knowledge of the Youngers' financial reversals, Asagai
drops by the apartment, hoping to help with the packing, but instead he is greeted by
a changed Beneatha. Seemingly, she is in shock. Very simply, she states, "He gave
away the money." Her previous positive idealism has been replaced by a loss of faith
in humanity. The money that should have financed her medical education is gone.
She wants and expects sympathy from Asagai, but instead, he upbraids her for her
materialistic outlook. (Later, in her often quoted "measure him right" speech, Mama
too will challenge Beneatha's egocentric perceptions concerning the loss of the
money.) Beneatha listens, then agrees to consider Asagai's proposal of marriage,
along with his invitation that she move to Nigeria to practice medicine.
Later, Walter comes in and begins searching frantically for Lindner's telephone
number while ignoring Beneatha's insults. Mama suggests that they give up on their
dream of moving and that they make themselves satisfied with the apartment in
which they are presently living, a suggestion that seems to upset Ruth more than
anyone else.
, Shortly thereafter, we learn that Walter has decided to accept Lindner's offer of
paying them generously not to move in. Aghast, the three Younger women watch
Walter rehearse an exaggerated servility with which he plans to greet Lindner.
However, moved by Mama's word about black pride, Walter changes his mind and
disappoints Lindner. He tells him that he and his family have decided to live in
Clybourne Park.
Analysis
Through Asagai, we see that the African struggle for independence is similar to
Walter's struggle for independence; however, at the same time, Hansberry
expresses her own fears that the new black leadership of the emerging African
nations might prove to be as corruptly oppressive as the previous colonial rulers.
Ironically, Walter achieves his independence — that is, he comes "into his
manhood" without the money that has been his obsession throughout the play.
Previously, Walter stated that his self worth was predicated on the amount of money
he could garner or generate. He is broke now and feeling foolish over his egregious
error, but he has a more realistic and mature vision of what independence means
and demands of individuals. It is also through Asagai that we are made aware of the
Western definition of success, as he questions the happiness one should expect
through money gained because of someone's death.
Hansberry also uses the final scene to show us the maturation of each character,
including Mama, who has learned while teaching. When she tells Beneatha that the
true test of love is the ability to love a person when he is at his lowest, we realize that
Mama has had time to reflect upon this fact herself.
Glossary
Monsieur le petit bourgeois noir Beneatha is so angry at Walter Lee for having
entrusted their family's money to the unscrupulous Willy that she mockingly derides
Walter Lee for having shown such mercantile naivete. To Beneatha, it is apparent
that Walter Lee's financial folly was due to his total lack of knowledge about the
workings of the business world; she taunts him by referring to him as "Monsieur le
petit bourgeois noir," meaning "Mister [black] small businessman." She goes on to
taunt him by calling him other names, such as "Symbol of the Rising Class,"
"Entrepreneur," "Titan of the System," and "Chairman of the Board," none of which
Walter is and few of which Walter has ever heard. By calling Walter Lee "Monsieur le
petit bourgeois noir," Beneatha gives us proof that she is oppressively pedantic since
she is clearly showing off her learning and is bragging (once again) about her college
student status. She speaks mostly for her own emotional benefit, for she knows that
Walter has no knowledge of the meaning of her words in French, just as he barely
understands the meaning of the insults she hurls at him in English.
peachy keen, as the ofay kids say This is a reference to the racial differences in
language, most especially in the area of slang. When Raisin opened in 1959, the
expression "peachy keen" was common to white teenagers, as was "swell," both of
which were used to refer to something that was "good," while in the black
communities, "boss," "zanzy" or "bad" were used to refer to something "good." In
addition, the word "ofay" was a slang word used in the black communities at that
Play Summary
This play tells the story of a lower-class black family's struggle to gain middle-class
acceptance. When the play opens, Mama, the sixty-year-old mother of the family, is
waiting for a $10,000 insurance check from the death of her husband, and the drama
will focus primarily on how the $10,000 should be spent.
The son, Walter Lee Younger, is so desperate to be a better provider for his growing
family that he wants to invest the entire sum in a liquor store with two of his friends.
The mother objects mainly for ethical reasons; she is vehemently opposed to the
idea of selling liquor. Minor conflicts erupt over their disagreements.
When Mama decides to use part of the money as a down payment on a house in a
white neighborhood, her conflict with Walter escalates and causes her deep anguish.
In an attempt to make things right between herself and her son, Mama entrusts
Walter Lee with the rest of the money. He immediately invests it secretly in his liquor
store scheme, believing that he will perhaps quadruple his initial investment.
One of Walter Lee's prospective business partners, however, runs off with the
money, a loss which tests the spiritual and psychological mettle of each family
member. After much wavering and vacillating, the Youngers decide to continue with
their plans to move — in spite of their financial reversals and in spite of their having
been warned by a weak representative of the white neighborhood that blacks are not
welcome.
About A Raisin in the Sun
Hansberry's recognition of the close relationship between art and propaganda is the
reason she chose the environment of the powerless as a backdrop for her work
about American culture. Her objective was to be a spokesperson for those who, prior
to Raisin, had no voice. The thought that anyone outside of the black community
would care about the struggles of a black family in Southside Chicago, prior to the
opening of Raisin, was all but preposterous. Not only did Hansberry choose as the
voice of her theme a black family (and a poor black family, at that), but she also
threaded information about Africa throughout the fabric of her play, mainly through
her most stable character, Asagai, Beneatha's suitor from Nigeria.
Through Asagai (and sometimes through Beneatha), the audience gains valuable
insight into African history, politics, art, and philosophy. Even the character of
George Murchison glorifies, by default, the ancient African civilizations when he
derisively mentions "the African past," "the Great West African Heritage," "the great
Ashanti empires," "the great Songhay civilizations," "the great sculpture of Benin,"
and "poetry in the Bantu." Although George is being facetious, still he uses
adjectives that praise and laud the accomplishments of a continent with which many
theatregoers, at the time of the opening of Raisin, were extremely unfamiliar.
To structure her drama, Hansberry utilizes the traditional classic European dramatic
forms: Raisin is divided into three conventional acts with their distinct scenes. Yet,
,Hansberry employs techniques of the absurdist drama — particularly in the scene in
which a drunken Walter Lee walks in on Beneatha's African dancing and is able to
immediately summon a memory which psychically connects him with an African past
that his character, in reality, would not have known. Walter Lee is able to sing and
dance and chant as though he had studied African culture.
Hansberry's skilful use of this momentary absurdity makes Walter's performance
seem absolutely plausible to her audience. Note also in this work that Hansberry
refers to an ancient Greek mythological titan, Prometheus, then makes a reference
to an icon of the American entertainment world, Pearl Bailey, and then a reference to
Jomo Kenyatta, a major African scholar and politician, yet there is no loss of
continuity because the audience is able to immediately perceive the connection.
Character List
Ruth Younger The thirtyish wife of Walter Lee Younger and the mother of Travis,
their ten-year-old son. Ruth acts as peacemaker in most of the explosive family
situations. Very low-key, Ruth reveals her strongest emotions only when she learns
of the possibility of their moving to a better neighborhood.
Travis Younger The ten-year-old son of Walter and Ruth Younger. Living in a
household with three generations in conflict, Travis skillfully plays each adult against
the other and is, as a result, somewhat "spoiled." In spite of this, he is a likeable
child.
Walter Lee Younger In his middle thirties, he is the husband of Ruth, father of
Travis, brother of Beneatha, and son of Lena (Mama) Younger. Walter works as a
chauffeur and drinks a bit too much at times. When he discovers that his mother will
receive a $10,000 check from his father's insurance, he becomes obsessed with his
dreams of a business venture which will give him financial independence and, in his
mind, will make him a more valuable human being.
Beneatha Younger The twentyish sister of Walter Lee and the daughter of Lena
Younger. She is a college student planning to go to medical school. The only family
member privileged to have the opportunity for a higher education, she is sometimes
a little overbearing in the pride she takes in being an "intellectual."
Lena Younger (Mama) The mother of Walter Lee and Beneatha, mother-in-law of
Ruth, and grandmother of Travis. Lena's (Mama's) every action is borne out of her
abiding love for her family, her deep religious convictions, and her strong will that is
surpassed only by her compassion. Mama's selfless spirit is shown in her plans to
use her $10,000 insurance check for the good of her family, part of which includes
plans to purchase a house in a middle-class white neighborhood.
Joseph Asagai An African college student from Nigeria, Asagai is one of
Beneatha's suitors. Mannerly, good looking, and personable, he is well liked by all
members of the Younger household.
George Murchison Beneatha's other boyfriend, he too is a college student. His
wealthy background alienates him from the poverty of the Youngers. Easily
,impressed, Ruth is the only member of the Younger household who naively
overlooks George's offensive snobbishness.
Mrs. Johnson Brash and abrasive neighbor of the Youngers, she insensitively
points out to the Youngers all the negative repercussions that await them should
they decide to move into the white neighborhood.
Karl Lindner A weak and ineffectual middle-aged white man, Lindner is the
spokesman for the white community into which the Youngers plan to move. He has
been sent to persuade the Youngers not to move into the white neighborhood. In
fact, he has been authorized by the white community to offer the Youngers a
monetary incentive not to move in.
Bobo The somewhat dimwitted friend of Walter Lee who, along with another friend,
Willy, plans to invest in Walter Lee's business scheme.
Two Moving Men Having no speaking parts, they enter at the end of the play to help
the Youngers move to their new neighborhood.
Walter Younger The husband of Lena Younger, father of Walter Lee and Beneatha,
and grandfather of Travis. His death before the action of Act I provides the insurance
money that will change the lives of the Younger family.
Willy The unscrupulous "friend" of Walter Lee and Bobo who absconds with all the
money for the prospective business venture. Although the audience never meets
him, Willy's character is assessed through the dialogue of others.
Summary and Analysis Act III
Summary
An hour later, having no knowledge of the Youngers' financial reversals, Asagai
drops by the apartment, hoping to help with the packing, but instead he is greeted by
a changed Beneatha. Seemingly, she is in shock. Very simply, she states, "He gave
away the money." Her previous positive idealism has been replaced by a loss of faith
in humanity. The money that should have financed her medical education is gone.
She wants and expects sympathy from Asagai, but instead, he upbraids her for her
materialistic outlook. (Later, in her often quoted "measure him right" speech, Mama
too will challenge Beneatha's egocentric perceptions concerning the loss of the
money.) Beneatha listens, then agrees to consider Asagai's proposal of marriage,
along with his invitation that she move to Nigeria to practice medicine.
Later, Walter comes in and begins searching frantically for Lindner's telephone
number while ignoring Beneatha's insults. Mama suggests that they give up on their
dream of moving and that they make themselves satisfied with the apartment in
which they are presently living, a suggestion that seems to upset Ruth more than
anyone else.
, Shortly thereafter, we learn that Walter has decided to accept Lindner's offer of
paying them generously not to move in. Aghast, the three Younger women watch
Walter rehearse an exaggerated servility with which he plans to greet Lindner.
However, moved by Mama's word about black pride, Walter changes his mind and
disappoints Lindner. He tells him that he and his family have decided to live in
Clybourne Park.
Analysis
Through Asagai, we see that the African struggle for independence is similar to
Walter's struggle for independence; however, at the same time, Hansberry
expresses her own fears that the new black leadership of the emerging African
nations might prove to be as corruptly oppressive as the previous colonial rulers.
Ironically, Walter achieves his independence — that is, he comes "into his
manhood" without the money that has been his obsession throughout the play.
Previously, Walter stated that his self worth was predicated on the amount of money
he could garner or generate. He is broke now and feeling foolish over his egregious
error, but he has a more realistic and mature vision of what independence means
and demands of individuals. It is also through Asagai that we are made aware of the
Western definition of success, as he questions the happiness one should expect
through money gained because of someone's death.
Hansberry also uses the final scene to show us the maturation of each character,
including Mama, who has learned while teaching. When she tells Beneatha that the
true test of love is the ability to love a person when he is at his lowest, we realize that
Mama has had time to reflect upon this fact herself.
Glossary
Monsieur le petit bourgeois noir Beneatha is so angry at Walter Lee for having
entrusted their family's money to the unscrupulous Willy that she mockingly derides
Walter Lee for having shown such mercantile naivete. To Beneatha, it is apparent
that Walter Lee's financial folly was due to his total lack of knowledge about the
workings of the business world; she taunts him by referring to him as "Monsieur le
petit bourgeois noir," meaning "Mister [black] small businessman." She goes on to
taunt him by calling him other names, such as "Symbol of the Rising Class,"
"Entrepreneur," "Titan of the System," and "Chairman of the Board," none of which
Walter is and few of which Walter has ever heard. By calling Walter Lee "Monsieur le
petit bourgeois noir," Beneatha gives us proof that she is oppressively pedantic since
she is clearly showing off her learning and is bragging (once again) about her college
student status. She speaks mostly for her own emotional benefit, for she knows that
Walter has no knowledge of the meaning of her words in French, just as he barely
understands the meaning of the insults she hurls at him in English.
peachy keen, as the ofay kids say This is a reference to the racial differences in
language, most especially in the area of slang. When Raisin opened in 1959, the
expression "peachy keen" was common to white teenagers, as was "swell," both of
which were used to refer to something that was "good," while in the black
communities, "boss," "zanzy" or "bad" were used to refer to something "good." In
addition, the word "ofay" was a slang word used in the black communities at that
