American Dream in a Raisin in the Sun Essay Example
American Dream in a Raisin in the Sun Essay Example

American Dream in a Raisin in the Sun Essay Example

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  • Pages: 13 (3438 words)
  • Published: September 5, 2018
  • Type: Analysis
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CHAPTER Ill: The Impact of Identity on Dreams - 1. Identity in the Sight of Other People. The perception of individuals by others differs from their self-perception, which greatly affects their future accomplishments. This impact becomes particularly prominent when they lack objectivity or determination to pursue their life goals despite facing opposition and societal influence...

The perception of oneself can often result in a decrease in self-confidence and a willingness to conform to others' expectations. In an effort to fit in, individuals may change their true identities and adopt false personas. This is exemplified by George Murchison's character, who, despite his racial heritage, attempts to mimic the behaviors of another race because he feels disconnected from his African roots. Occasionally, people may try to impose specific behaviors onto others based on their own perceptions.

">The white society consistently attempts to dictate the lifestyle that Black people should lead. This can be observed in the novel "Invisible Man," where the main character works tirelessly to escape the predetermined roles and restrictions imposed by white society throughout the story. The racist society's stereotypes and expectations force Black individuals to conform to specific behaviors, denying them the freedom to act according to their own desires. Additionally, even the efforts of black activists fighting for equality are manipulated, as if they were mere puppets controlled by external forces.

In the novel "The Invisible Man", the protagonist faces a situation where he realizes that achieving his own identity in society is impossible. Upon returning to Harlem, the narrator discovers that Tod Clifton, who has grown disillusioned with the Brotherhood due to manipulation, has vanished. The narrator finds Clifton selling

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dancing Sambo dolls on the street, openly mocking the organization he once had faith in. Unfortunately, he is fatally shot by a police officer during a confrontation.

The narrator addresses the crowds during Clifton's funeral in an attempt to regain his former popularity in Harlem. His speech captivates the audience, but the Brotherhood reprimands him for praising someone who sold offensive dolls. One day, while walking on the street, Ras and his associates spot the narrator and physically assault him. To hide his identity, he purchases sunglasses and a hat. However, he is mistaken for a man named Rinehart in different situations – as a lover, a hipster, a gambler, a briber, and ultimately as a reverend. By observing Rinehart's actions and behavior, the narrator realizes that Rinehart has assimilated into white society at the cost of his own true identity.

The narrator realizes that his identity is insignificant to the Brotherhood; only his blackness matters. He chooses to follow his grandfather's dying advice to deceive and undermine his oppressors, by agreeing with them while secretly plotting their downfall. Similar to how Ras puts on a disguise and is mistaken for someone else, Beneatha is also misunderstood by others, particularly because of her hair and Nigerian clothes gifted by Asagai.

As they perceive her wrongly, they will expect or even force her to act in a way that aligns with their misunderstanding. The poem "Harlem" by Hughes captures the struggle between the desire for black expression and the impossibility of achieving it due to the oppression of black people in American society. Hughes questions what happens to a "dream deferred," comparing it to a raisin

shriveling up in the sun. He addresses the racist and dehumanizing attitude prevalent in America prior to the civil rights movement, where black aspirations were either dismissed or forcefully resisted. The closing question of whether a deferred dream would "explode" is a provocative statement suggesting that suppression of black dreams may lead to an outpouring of frustration. This question implicitly places the responsibility for any potential eruption on the oppressive society that forces dreams to be postponed.

Hansberry's use of Hughes' poem in the title of her play draws attention to the significance of dreams in A RAISIN IN THE SUN and the challenges faced by her characters as they strive to achieve their personal dreams. This struggle is closely connected to the broader aspiration of black individuals for equality in America. These dreams have both positive and negative effects, providing a means of escape from demanding labor and difficult living conditions while also intensifying their discontentment with their current circumstances.

In general, the negative dreams primarily stem from prioritizing materialistic goals over family pride and happiness. Consequently, though the Youngers collectively yearned for a better life, each individual had their own distinct dream to pursue it. Regrettably, their dreams had been delayed for an extended period, causing their frustration to nearly sabotage the ultimate dream. This frustration is aptly expressed by Beneatha, who has lost faith in her brother, as she states, "Well, we are dead now. All the talk about dreams and sunlight that goes on in this house."

The text argues that the challenges faced by black women due to their gender and race create a daily struggle, referred to as the

"double Jeopardy". In Lorraine Hansberry's play A Raisin in the Sun (1959), the female characters also experience this form of discrimination. However, critics often overlook the gender aspect as the play primarily focuses on racial issues.

In A Raisin in the Sun by Hansberry, the lives of black women are greatly impacted by their race and gender. Unlike typical works by black authors where a single female character is the main protagonist, this play emphasizes the role of race in shaping the narrative. However, focusing solely on race cannot fully comprehend the complex challenges these women encounter; a deeper understanding can only be achieved by acknowledging the intersectionality of gender.

This text discusses the common obstacles encountered by black women characters in Lorraine Hansberry's play, which spans across three generations. Lorraine Hansberry was born on May 19, 1930, in Chicago, Illinois. Tragically, she passed away from cancer at the age of thirty-four on January 12, 1965. Despite her relatively short career, Hansberry received acclaim from literary critics and achieved two significant milestones: She became the first woman to have a play produced on Broadway and also the first black playwright to win the New York Drama Critics' Award for Best Play in 1959.

Black American women writers, including Zora Neale Hurston, Lorraine Hansberry, Alice Walker, and Toni Morrison, have consistently focused on the relationship between Africa and America in their writings. They have utilized their African heritage to reconnect with their roots and explore their origins. In addition to race, these writers also encounter obstacles due to their gender and the unique position of being a black woman in American society.

Both women and black

men encounter comparable obstacles, such as rejection and limited opportunities in lower-status occupations, solely due to their skin color. Additionally, women face difficulties in their relationships with men, including black men, as they are disadvantaged in a society dominated by males. Consequently, the distinct challenges experienced by black women and their approach to feminism necessitate individual examination.

The initial and subsequent waves of feminism played a pivotal role in advancing the struggle for equality among black women, yet they failed to adequately address their particular requirements. Although white women were championing fundamental rights such as Women's Rights and Women's Suffrage, black women encountered sexism as a regular occurrence. As depicted in Bell Hooks' essay "Black Women: Shaping Feminist Theory" (1984), certain white women only became cognizant of this oppression due to the impact of the feminist movement.

The feminist movement has enlightened white women about their capacity to challenge male dominance. Yet, they overlook the fact that black women and other marginalized groups of women acquire awareness of patriarchal politics through their own firsthand encounters. These women devise resistance strategies, albeit not always in a coherent or structured way. (Hooks 277, 278).

Hooks argues that unlike white feminists, black women did not form a unified movement. This may be because the white feminist movement did not greatly affect their lives since it offered nothing different from their everyday experiences. With this study, we seek to explore the intersection of race and gender in Hansberry's play. Thus, we will now analyze the play to demonstrate how these women employed strategies to overcome their "dream deferred."

The main subject matter of this work is the three black

women characters in the play (Mama, Ruth, and Beneatha) and the unique challenges they encounter as black women. It is worth mentioning that these three characters may not necessarily belong to different generations, considering there is usually a 25-year age gap between them (Ruth being in her thirties while Beneatha is in her twenties). Nonetheless, they strongly differ in their perspectives and ideas.

Ruth and Beneatha have contrasting views on the world, particularly concerning their ideas. In the first scene, Lena Younger, or "Mama," is introduced as the matriarch of a traditional African-American family. However, as we delve deeper into the play, we realize that Mama holds even more power as a maternal figure than we initially thought.

Mama, a widow in the play, is willing to give up her own aspirations for her children's well-being. She will receive an insurance payout from her late husband's diligent efforts and intends to use some of it to finance her daughter Beneatha's pursuit of a Medical degree. Furthermore, Mama envisions utilizing the remaining funds as a deposit for a home with a yard in a more desirable community, providing an ideal space for her grandson to play.

The insurance money of ten thousand dollars sparked numerous family disputes, causing her to sacrifice her dreams in order to ensure the happiness of their children. The presence of an elder figure is significant for a black family as it embodies wisdom and respect. Mama, with her extensive life experience, serves as a guide to uphold the values of their black family. Consequently, she can be regarded as the elder of the Younger family, responsible for preserving their cultural heritage.

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Despite Mama and her children having differing worldviews, particularly regarding black traditions and religion, the family looks to her as a guiding force for achieving their dreams. Rather than pursuing their individual aspirations independently, Walter and Beneatha depend entirely on the insurance money to fulfill their desires of starting a liquor business and pursuing a medical education, respectively.

The reason for their anticipation of Mama's final decisions was primarily the money. Mama, being the strong matriarch of the black family, was responsible for determining who she would assist. Additionally, Mama was deeply committed to preserving the memory of her ancestors. This concept of ancestor reverence is a prevalent theme in African American tradition. Toni Morrison noted in her essay "Rootedness: The Ancestor as Foundation" (1984) that "There is always an elder present" in African American literature.

The text highlights the significance of ancestors in the lives of the characters. These ancestors play the role of not just parents but also timeless individuals who have a benevolent, instructive, and protective relationship with the characters. They possess a certain kind of wisdom that is valuable to the characters. Mama's ancestors are evoked in special moments, such as when Walter, in a legendary moment, stands up against Lindner, the white man who tried to persuade him. Mama's ancestors' energy is seen in her children, as Walter testifies before God "that my children got all the energy of the dead!" (Hansberryl 19).

In her speech, Mama reveals that she draws inspiration from the memories of her ancestors. Specifically, Mama looks to her deceased husband, Big Walter, as a mythical ancestor who inspires her. She describes Big Walter as a

man who could never achieve his dreams. Towards the end of the play, Mama decides to give Walter Lee the money he desires to pursue the liquor business, possibly because she is reminded of her husband's dreams for their children to have a better life and achieve success.

Brother gets all these notions from Big Walter, who used to say that it seems like God only gave black men dreams. However, He did give them children to make those dreams worthwhile. Mama could not give up on Big Walter's dream of seeing his children succeed, so she decided to pass the remaining insurance money to Walter Lee and make him the leader of the family. Despite being the strong matriarch, Mama believed that Walter Lee had a moral obligation to fulfill in honor of his late father. (Hansberry 46).

Mama's unique perception of the world is closely tied to the religion she has followed her entire life. When envisioning Mama singing the spirituals of her church, we imagine the powerful voices and deep faith of protestant black women. Mama is completely devoted to the rituals and beliefs of her religion, and becomes a zealous defender of her faith, particularly if she encounters any dissent within her own home. During an argument with Beneatha, Mama's anger flares when her daughter declares her intention to become a doctor and dismissively states "God hasn't got a thing to do with it" (Hansberry 50).

The mother reacted strongly to her daughter's blasphemous statement, especially in their traditionally Christian family. She insisted that her daughter repeat the belief that there is still God in their mother's house. This shows

how the mother, as matriarch, uses her power to intimidate Beneatha and impose her own beliefs. The passage highlights the clash between different generations and the matriarch's approach of one-sided communication instead of engaging in dialogue to resolve their family conflicts (Hansberry 51).

Ruth, Mama's daughter-in-law, represents the ideal submissive black woman, however, life has not turned out as she expected and disappointment is evident on her face" (Hansberry 24). While she may appear passive, the author reveals that she has her own aspirations. She dreams of being known as a stable woman among her community and hopes to have a house and gain the respect of her peers before the age of thirty-five.

Ruth should not be underestimated as a submissive wife, despite her appearance. Knowing the challenges that come with raising another child in her impoverished state as a black woman, she is willing to make the difficult decision of terminating her pregnancy. This choice contradicts the teachings of her Protestant upbringing, highlighting her readiness to abandon familial values and religion for the sake of a more secure future.

According to Mama, a woman will go to any lengths for her family when the world becomes too harsh, especially for the part of her family that is already alive (Hansberry 75). While having an abortion would not make Ruth an emancipated woman, being able to determine her own future demonstrates her independence from her family. Ultimately, Ruth chooses not to have the abortion, particularly due to the support she receives from her husband in raising their children. Moving on to Beneatha Younger, she is depicted as a stereotypical revolutionary young woman in

the play, being in her twenties.

Although she strives to reject external ideas imposed on her, without the freedom to choose them, Beneatha is also on a quest for her own identity as she tries to reclaim black traditions. In the play, one of the challenges she faces relates to women's professional roles. Her desire to become a doctor contradicts her family's expectations, particularly her brother Walter Lee. He believes that she should not aim for such a prestigious position and suggests that she become a nurse or just get married instead: "Who the hell told you you had to be a doctor? If you're so interested in working with sick people, then become a nurse like other women - or just get married and be quiet... (Hansberry 38)." Walter Lee's sexist attitude towards women's careers leads him to believe that they should only pursue secondary roles in society. Therefore, being a doctor would be too ambitious for them, especially for someone like Beneatha who is both black and a woman. When Walter Lee challenges her dream of becoming a doctor, he is surprised by her determination to achieve such high status. If even he can only secure a job as a chauffeur despite his potential as a man, how could his sister aspire to such prestige?

The author wouldn't be shocked if his sister became a maid, similar to his wife. He found it hard to acknowledge women in higher positions, especially when it was his own sister. Angela Davis discusses the unequal stigma surrounding employment for black women compared to white women in her essay "Women, Race and Class" (1981). Davis argues that

black women's unfavorable living conditions led them to pursue jobs outside of their households as a way to achieve career success (129).

Black women were initially introduced to work through the role of slaves, which led to the establishment of the black workwomen stereotype that was difficult to overcome. While black men also encountered work for the first time in a slavery context, the prevailing ideology of the 19th century portrayed women as "nurturing mothers and gentle companions and housekeepers for their husbands". This perception further contributed to assigning black women as "anomalies" (Davis 129), as they were seen as deviating from their expected responsibilities within the family and assuming a position traditionally reserved for men.

Beneatha is both a revolutionary and someone searching for her black tradition. When she meets Joseph Asagai, a Nigerian student from her campus, she sees an opportunity to connect with her African heritage. Out of her family, she appears to be the only one concerned with reclaiming their roots. Asagai criticizes her for altering her hair, prompting Beneatha to begin a process of assimilation. She starts adopting African clothing, specifically dressing like a Nigerian woman, in order to connect with African culture, even if only superficially through her appearance.

Regrettably, when she made the decision to alter her appearance, she erred by choosing the wrong person to accompany her. George Murchison failed to comprehend her perspective and she categorized him as an assimilationist. When Ruth inquired about the meaning of assimilation, she offered a definition: It pertains to someone who is willing to relinquish their own culture and fully immerse themselves in the dominant, and in this instance, oppressive

culture! (Hansberry 81) As she encountered diversity and had the chance to embrace her African heritage, she was unwilling to take the risk of being labeled an assimilationist herself.

The concepts of acculturation and assimilation are significant in the field of Alterity Studies, particularly in relation to black-Americans integrating African traditional elements into their culture. Acculturation entails the coexistence of two cultures, where one group adopts elements from another to enrich the cultural background of their own people. These elements may encompass customs, rituals, and cultural manifestations that gradually become part of the tradition of a particular group. This process is commonplace, often occurring when there is an interest or curiosity between two cultural groups.

Acculturation in the United States refers to black Americans' efforts to reconnect with their African heritage by incorporating cultural elements. In contrast, assimilation involves imposing one culture onto another, blending values and introducing elements from one culture to another.

Contrary to acculturation, the assimilationist culture sacrifices certain traditional elements in order to appear more similar to the other culture. In American culture, assimilation occurs when blacks adopt values or elements of white-European culture in addition to their own. Ultimately, the poet from the Harlem Renaissance, who greatly influenced Hansberry's career, used his words to introduce her play by asking: "What happens to a dream deferred?"

The text explores the desires of the female characters in Hansberry's play. Each character has a dream they pursue: Mama dreams of a home and her family's happiness, Ruth desires stability and recognition as a capable mother, and Beneatha longs to be seen as a professional and to discover her black identity. The text also

poses the question of whether these dreams will wither away, become burdensome, or lead to explosive outcomes.

In Hansberry's play, the female characters are situated in a specific "locus" where their gender and blackness shape their future. These women embody three different types of black women: the mother, the housewife, and the revolutionary. The revolutionary woman is capable of challenging traditional norms and creating new ones based on her own beliefs. Rather than a battle of the sexes, the play ultimately reveals that these three types of women are essential for the well-being and growth of male characters like Walter Lee, George Murchison, and Asagai. Despite their contradictions and struggles, these women demonstrate strength in their determination to fight, exert influence, and support the development of their male counterparts.

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