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 that, before 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, before the opening of raisin, was about preposterous. Not only did Hansberry choose because of the voice of her theme a black family (and a poor black family, at that), but she also threaded information about Africa throughout the material of her play, mainly through her most stable character, Asagai, Beneatha’s suitor from Nigeria.
To structure her drama, Hansberry utilizes the normal classic European dramatic forms: Raisin is split into three conventional acts with their distinct scenes. Yet, Hansberry employs techniques of the absurdist drama — particularly within the scene during which a drunken Walter Lee walks in on Beneatha’s African dancing and is in a position to right away summon a memory that psychically connects him with an African past that his character, actually, wouldn’t have known. Walter Lee is in a position to sing and dance and chant as if he had studied African culture.
A Raisin in The Sun PDF
Hansberry’s skillful use of this momentary absurdity makes Walter’s performance seem absolutely plausible to her audience. Note also during this work that Hansberry refers to an Ancient Greek mythological titan, Prometheus, then makes regard to an icon of the American entertainment world, Bailey, then regard to Jomo Kenyatta, a serious African scholar, and politician, yet there’s no loss of continuity because the audience is in a position to right away perceive the connection.
As the play progresses, the Youngers clash over their competing dreams. Ruth discovers that she is pregnant but fears that if she has the kid, she is going to put more financial pressure on her relations. When Walter says nothing to Ruth’s admission that she is considering abortion, Mama puts a deposit on a house for the entire family. She believes that a much bigger, the brighter dwelling will help all of them. This home is in Clybourne Park, a completely white neighborhood.
When the Youngers’ future neighbors determine that the Youngers are occupation, they send Mr. Lindner, from the Clybourne Park Improvement Association, to supply the Youngers money reciprocally for staying away. The Youngers refuse the deal, even after Walter loses the remainder of the cash ($6,500) to his friend Willy Harris, who persuades Walter to take a position within the package store then runs off together with his cash.
In the meantime, Beneatha rejects her suitor, George Murchison, whom she believes to be shallow and blind to the issues of race. Subsequently, she receives a wedding proposal from her Nigerian boyfriend, Joseph Asagai, who wants Beneatha to urge a medical degree and move to Africa with him (Beneatha doesn’t make her choice before the top of the play). The Youngers eventually move out of the apartment, fulfilling the family’s long-held dream. Their future seems uncertain and slightly dangerous, but they’re optimistic and determined to measure a far better life. They believe that they will succeed if they stay together as a family and resolve to defer their dreams not.