A Raisin In The Sun discussion questions

How does the personification of the furniture in Act 1, Scene 1 of A Raisin in the Sun develop the setting?

The furniture is described as "tired." Even the inanimate objects in the room have given in to weariness—though
Hansberry mentions they were originally picked with "care and love and even hope," and the couch was "once loved."
The play's overarching theme of deferred and unrealized hope carries into the setting. The objects are worn out and
fed up—like the characters. The carpet has "fought back" against the residents' efforts to disguise worn patches.
Furnishings are weary after years of being "polished, washed, sat on ... scrubbed." The setting shows that great effort
doesn't always yield great results. In Act 1, Scene 2 Mama and Beneatha will clean the furnishings again, but they
won't be able to get rid of the cockroaches.

How does A Raisin in the Sun's first line ("The Younger living room would be a comfortable and well-ordered
room if it were not ...") set mood for the play?

The line suggests that the Youngers would have potential for greater things if the world had not worn them down.
They can achieve; for example, Beneatha is in college. They do in fact strive to be "comfortable" (wealthy) and "well-
ordered" (disciplined and good at what they do). Walter dreams of owning his own business; Mama and Ruth work to
make the best of what they have. With little money and few opportunities, however, the Youngers have become a pile
of "contradictions"—a defeated people who nevertheless hope for better things, a close family whose members don't
understand each other. The line also demonstrates the author's tone, which is critical and psychologically insightful.

In A Raisin In the Sun's first scene how does Travis show that he is trying to be a man?

Travis shows he's eager for more financial responsibility and wants to be on the same economic footing as his
classmates. As a child he still must ask his parents for money. When Ruth won't give him 50 cents for school, he
suggests he earn it on his own by carrying groceries. Defying his wife, Walter gives his son money to bolster his—
and Walter's own—pride and manhood, although the family can't really afford it. Travis is also reluctant to hug his
mother, even though he recognizes the ritual's importance to her, because he is beginning to feel too old for such
affection.

In Act 1, Scene 1 of A Raisin in the Sun how does Ruth's statement "Eat your eggs" and Walter's reply to it
demonstrate their contrasting goals?

Ruth's goal is to care for her family and do her best with what they have. She emphasizes her family's physical well-
being in the moment—for instance, by wanting Travis to get more sleep despite Walter's friends staying up late in the
apartment and by nagging at Walter to eat his eggs. Walter emphasizes emotional well-being and planning. He
believes he and his friends are talking about important things that Ruth doesn't care to understand—things that will
benefit the family in the long term. He's frustrated by what he sees as Ruth's limited vision and ignorance of his real
needs. Food doesn't sustain him; he's "choking to death."

What does Beneatha's physical description in A Raisin in the Sun reveal about her character?

Hansberry describes Beneatha's face as "intellectual"; her appearance reflects her scholarly interests. She is less
pretty than Ruth but her face has a "handsomeness," a term most often used to describe men. This hints that
Beneatha is the character most likely to flout traditional gender roles; she wants to become a doctor instead of a
nurse. She also confidently makes her own decisions, which is much different from traditional gender roles of the
time. Her hair is "thick" and "stands wildly." She hasn't yet straightened it into submission; Beneatha's second-act
decision to wear her hair naturally represents her rejection of assimilation and white culture.

In Act 1 of A Raisin in the Sun how do Ruth and Beneatha's attitude toward Mama's money contrast with
Walter's, and what do these attitudes reveal about each character?

Ruth and Beneatha both believe Mama should control her money. Beneatha says Mama can do something frivolous
if she likes; she doesn't even have to spend the funds. Beneatha hopes to be allowed that same agency over her own
life. It is noteworthy that, while she will not ask her mother to pay for medical school, Beneatha is not too independent
to accept the money if offered. Ruth, after mentioning the money "self-righteously" to Mama, suggests Mama take a
vacation. Ruth is proud of her own sense of responsibility, but she knows Mama needs relaxation and rest. Walter
believes money needs to be invested in a way that will make it grow; he doesn't see the point of a vacation or for his
 A Raisin In The Sun discussion questions
sister to pursue such lofty educational goals. He feels a connection to his father as the only son and, therefore, more
ownership of his father's funds. He believes the traditional idea that money should be passed down from man to man.

How does Beneatha's reference to Walter as a "prophet" in Act 1, Scene 1 foreshadow Walter's later actions
in A Raisin in the Sun?

Beneatha refers to the prophets "who would lead us out of the wilderness ... into the swamps!" or from one bad
situation to a worse one. Besides signifying Beneatha's distaste for organized religion and its worship of authority
figures, the line paints Walter as the prophet who leads his family into unknown territory. Like a prophet Walter
frequently sees visions of the future and the past that the other characters can't see. When he refers to his future as a
"looming blank space" to Mama in Act 1, Scene 2 he expresses a desire to know what the future holds. When he
gives his funds to an untrustworthy man he unwittingly leads his followers—his family—into the swamps, so he knows
it's his responsibility to make things right.

What parallels does Hansberry draw between Mama and African women in Act 1, Scene 1 of A Raisin in the
Sun?

Africa is associated with hope, nobility, and royalty throughout the play. It is also associated with mythical archetypes,
such as the queenly matriarch. Mama is one of the play's most noble characters, the one who sticks by principle.
Mama is also interested in honoring the past, both her husband and her faith—tying into her deeper ancestry. She
carries the family's burdens gracefully, like a Southwest African woman who walks with "a basket or a vessel upon
her head." Like the African women she is compared to, "the women of the Hereros of Southwest Africa," Mama
demonstrates noble bearing throughout the play, no matter what kind of struggle she is working through.

How do the contrasting ways that Ruth and Mama treat Travis reveal generational ideas about children and
self-sufficiency in A Raisin in the Sun?

Mama makes Travis's bed, gives him money, and encourages Ruth to feed him more. She's also less inclined to think
Travis deserves discipline. Her grandmotherly affection combines with her desire to nurture and shelter Travis from
the world's troubles—though this changes in the last act when Mama pulls Travis into the discussion with Lindner.
Ruth wants her son to understand the trouble the family is in and to start taking responsibility for how late he stays
out at night. She knows hard work and self-sufficiency will ensure Travis's future; his fortune won't be gifted to him by
his family. Ruth's generation expects more than Mama's—Ruth may be more inclined to view Travis as a future
entrepreneur, like his father.

How does food represent care and hospitality in A Raisin in the Sun?

Preparing and serving food is the one concrete action Ruth and Mama can do when they don't know how to meet
their family's deeper needs. They also use food as a way to bring guests into their circle of caring. Ruth feeds Travis
and offers to feed Walter when she doesn't know how else to help them; she can't give Travis his 50 cents or Walter
his investment dreams. Walter remarks on her tendency to offer him food and drink when he really wants connection.
Ruth and Mama give food and drink to guests to distract them from awkward conversations or to fulfill their own roles
as the women of the house. In addition Mama invites Asagai over for home-cooked meals as a way of making him
part of the family; she looks "at him as she would Walter." Food also represents housewarming, making a house into
a home. Mama plans to cook a big meal once the Youngers get to the new house.

How does alcohol connect to ambition, community, unhappiness, and strife in A Raisin in the Sun?

Walter and Bobo's desire to invest in a liquor store represents ambition and a need to be involved with the community
by proving their worth as entrepreneurs. Ruth notes the connection to community by pointing out how such an
enterprise fills a community need, saying that "people going to always be drinking themselves some liquor." She also
knows that alcohol is a way to cope with unhappiness—one she's seen her husband use many times when he is
frustrated by his thwarted ambitions. When Walter becomes angry and depressed that his mother "butchered up [his]
dream," he takes refuge in the bar called the Green Hat. There he can drink, let the music speak to him, and
participate in the community even if only as a passive observer. This shows that despite his anger, he longs for
connection to others. His drunkenness provides an escape route from his misery and brings him temporary "peace."
Yet at the same time his use of alcohol causes strife with Mama, who feels he should find his peace inside the home.
Thus in A Raisin in the Sun alcohol is a complex force that produces mixed consequences.
 A Raisin In The Sun discussion questions
What is the symbolism of the name Beneatha in A Raisin in the Sun, and how does this symbolism compare
to the Yoruba name Asagai gives her?

Beneatha's unique name includes the word beneath, implying a subordinate status, someone who is "beneath"
others. As a working-class African American woman, Beneatha lacks status in Chicago despite her exceptional
intelligence and curiosity. She lacks authority in the home due to her age. Beneatha doesn't accept this lack of status,
though; she works to assert and improve herself. Her Yoruba name, Alaiyo, means "one for whom bread (food) is not
enough"—someone striving for higher, better things. Asagai realizes, though Mama doesn't, that this name is more
consistent with Beneatha's personality. Beneatha feels the need for more knowledge and education so that she can
rise higher than those who oppress her would want.

What is the "deferred dream" of each of the main adult characters in A Raisin in the Sun, and how is each
dream achieved (or not) by the play's end?

Mama and Ruth have each dreamed of a home to raise their children in. Their dream is realized by the play's end,
although not in the same way for the two characters. It is too late for Mama's children to grow up in a sunlit, spacious
environment, but it is not to late for her grandchildren. Beneatha's dream is to become a doctor to fix people. This
dream seemingly dries up once the tuition money is gone, but Asagai opens the door for her to have a new dream: to
go to Africa and be a doctor there. This appears to give her the stamina to pursue her dream despite the financial
setback. Walter doesn't achieve his dream of business ownership, but he does fulfill his underlying goal—to earn his
family's respect and take his father's place as the man of the house.

In Act 1, Scene 1 of A Raisin in the Sun what is the significance of Ruth's line "Ain't nothin' can tear at you
like losin' your baby"?

Mama has lost a child, and she doesn't want Ruth to go through the same pain by having an abortion—nor does
Mama want to relive the pain herself. She buys the house partially to persuade Ruth to carry her child to term. Ruth
wants to protect the "already living" members of her family. She doesn't want Travis to have fewer of their limited
resources or Walter to be stretched thinner. She also doesn't want the new baby to be born into poverty or to lose the
child to despair the way she's losing Walter. Once Ruth sees a future full of hope for her child, she changes her mind
about terminating her pregnancy.

In A Raisin in the Sun what makes Karl Lindner the primary antagonist, the person who opposes the main
characters?

Lindner is the antagonist because he represents the prejudice and threat of violence the Youngers face in Chicago.
The home is a goal that unites the family, and Lindner is the first person to directly threaten that goal. He represents
"The Man" to Walter, the white man he's had to be subservient to his entire life despite his passion and ambition.
Lindner's goal to keep the Youngers out of the neighborhood and the Youngers' assertion of their dignity and pride
drive much of the plot in the play's second half. They are directly at odds, and this conflict makes the audience
consider their own notions of community and the ways people hide (and respond to) racism.

How does each main character express himself or herself in A Raisin in the Sun, and what points does
Hansberry make about self-expression?

Beneatha's self-expression is the most artistic and seemingly superficial. As the audience gets to know her they
realize expression through music, art, and hairstyles is crucial to Beneatha's motivation and survival. Mama
expresses herself through gardening, tending to her plant with the kitchen implements she has and in the limited
space and sunlight the apartment provides. Walter's self-expression comes through in the thoughtfulness of his
business plan and his assertion to George Murchison that his ideas deserve to be heard. Ruth expresses herself
through her living space (as does Mama) by keeping the apartment as clean as possible and selecting furnishings
such as new curtains for the home. She also expresses herself by singing when she feels hope. Travis expresses
himself by trying to show he's a young man, not a little boy, through actions such as wanting to earn his own money
and buying his grandmother a gardening hat. Each family member needs a form of self-expression to thrive.

In A Raisin in the Sun how does the Younger family react toward "rich colored people," and how do their
reactions reveal their individual characters?
 A Raisin In The Sun discussion questions
Beneatha says "rich colored people" are more snobbish than rich white people—more protective of what they've
earned, more conscious of what it took to get there, and more apt to create divisions between themselves and other
African Americans. Beneatha holds rich African Americans in contempt, even though she knows the necessity of
money (although perhaps not as keenly as Ruth and Walter do). Walter regards the wealthy George Murchison with
both contempt and envy. Though Walter resents George for not sharing his bitterness, he is aware of the differences
between them. The implication in the final act is that for the Youngers to move toward George's status, they should
take the buyout Lindner offers—sacrificing their pride for a chance to live a comfortable lifestyle. Only Walter, still
envious, considers this path.

How does Beneatha's faith in the achievements and "stubborn effort" of the human race change between the
first scene of A Raisin in the Sun and the last?

In Act 1 Beneatha believes humans "[make] miracles"; she says this when she argues to her mother that faith in God
is pointless. In making that statement she's thinking about her own desire to be a healer. She is confident that if she
works hard enough she can become a doctor and put people back together. By Act 3 Beneatha no longer has that
confidence, in herself or in others. She doesn't think people can be cured of the "misery" and "stupidity" that truly ails
them. Because of Walter's poor judgment and Willy Harris's theft Beneatha has come to believe that "people are
puny, small and selfish." Patching physical wounds is an irrelevant and temporary action, and humans' real problems
lie much deeper. Both Asagai, with his speech about the necessity to work for improvement even if it turns out badly,
and Mama, with her speech declaring that "there is always something left to love," try to pull her out of this new
cynicism. At the very end when Beneatha tells her mother that Asagai has asked her to marry him and go to Africa, it
seems that Beneatha might find a balance between idealistic hope and bitter despair.

Why do Beneatha and Walter feel Mama is a "tyrant" who exercises too much power in A Raisin in the Sun?

As the matriarch Mama oversees all that goes on in the apartment. She even listens in on phone calls. Walter is
upset that Mama has power over the settlement money, which he thinks he can use more wisely. Beneatha, younger
and less intimidated by authority figures, thinks Mama should allow a diversity of opinions in the home. Both Walter
and Beneatha dislike Mama's religious convictions. Walter wants her to put her beliefs aside to finance the liquor
store. His mother responds by deciding to buy a house without even consulting him, thus undermining his role as the
man of the family. Beneatha thinks her mother's religion is influenced by Western, colonialist ideas (referring to
Western countries that ruled over territories in Africa and the Americas). For example, Mama accepts the idea that
she should send money to missionaries in Africa, which implies that the dominant white culture's religion is superior
to traditional African beliefs. Beneatha no longer accepts that idea. When Beneatha attempts to express her atheism,
her mother slaps her and insists that she repeat "In my mother's house, there is still God," thus using force to ensure
conformity.

How does Mama's plant come to symbolize her children in A Raisin in the Sun?

The plant and the Younger children are all products of Mama's nurturing, and they suffer from similar issues. Mama's
children aren't getting what they need to grow in the small apartment. Like the plant without sunshine her children,
especially Walter, wilt without reinforcement. Unlike the plant her children's needs aren't straightforward or easy to
understand. Mama tends to the plant when she's frustrated or angry, and she keeps it around even though it's old,
raggedy, and not likely to grow very much—just as she loves her children when they're at their lowest points. Also like
her children she will not leave the plant behind, returning to retrieve it at the very end of the play to ensure she can
continue to care for it.

In Act 1, Scene 2 of A Raisin in the Sun why does Mama repeat Beneatha's concerns about Africa to Asagai?

Like Ruth Mama wants to prove herself "civilized" in front of a guest. She still thinks Beneatha's concerns about the
effects of European rule and missionary efforts in Africa are more amusing than pressing, but she also wants to
support her daughter. She wants to impress Beneatha and Asagai, too—Mama needs to keep her authority in the
home, her domain, so she says what she thinks will lead Asagai to see her as a more sophisticated person than she
really is. This speech is the first indication that Mama is making sincere, if awkward, strides toward understanding her
children. This also shows a bit of flexibility on Mama's part, which is not always evident throughout the play.

Why is it significant that both Ruth and Mama suppress screams in A Raisin in the Sun—Ruth in Act 1, Scene
2 and Mama in Act 3?
 A Raisin In The Sun discussion questions
At the moment that Mama first suspects Ruth is considering an abortion, Ruth stands with "her fists clenched on her
thighs and is fighting hard to suppress a scream." In the very last paragraph of stage directions of Act 3 just before
Mama exits, "a great heaving thing rises in her and she puts her fist to her mouth." Both women are overwhelmed—
Ruth with fear and anxiety, Mama with joy and apprehension. Hansberry shows how deferred dreams can produce
deep emotion and lead to the suppression of that emotion, especially in women, who are trained to care for others
before themselves. Mama says, "Women gets right depressed sometimes when they get her way." Once a woman
finally gets what she wants, what's next? What new problems might arise? Ruth fears the impact of a new baby on
the family and the consequences of terminating the pregnancy. Mama fears there will be trouble in the Youngers'
future when they move, but she sees the possibilities as well. In addition the apartment was her first home with Big
Walter, and she's leaving part of her past behind.

In Act 1, Scene 2 of A Raisin in the Sun why does Asagai consider Beneatha's straightened hair "mutilated"?

Beneatha says she straightens her hair because her natural hair is "hard to manage." However, she's aware that
natural hair, like Asagai's, is an aspect of black identity that she's altering on purpose. Asagai gently mocks her
preoccupation with "identity," but he's serious about her hair. African identity is more than academic to him and he
can't afford to accommodate in any way, even though at that point Beneatha would probably appreciate it if he did.

How does Willy Harris function as the secondary antagonist, or opponent, in A Raisin in the Sun?

Willy Harris is never onstage, but he influences the actions of Walter (the protagonist) and the fate of the entire
family. Though Beneatha senses he's not trustworthy, Willy Harris inspires Walter's faith. Walter, like Willy, is willing
to accept a few ethical compromises to achieve his goal (paying someone off to get the liquor license) until he's on
the receiving end of such an unethical decision himself. Willy's theft of the money directly sabotages Walter's goals in
a way that Lindner, the primary antagonist, does not. Willy's actions make Beneatha lose faith that people will help
one another. She draws on her newly acquired cynicism about African Americans to speculate that Africans will turn
out to be untrustworthy if they achieve independence. She now believes that, to achieve the "new Independence,"
Africans will steal from each other to rise to the top.

How do both Walter and Ruth reveal their business naïveté in the first scene of A Raisin in the Sun?

Walter trusts that his fellow investors will be honest, ignoring Ruth's observation that businessmen often use illegal
means such as graft. Ruth doesn't believe Walter that, in the business world, aspiring owners need to pay somebody
off. Her opinion is presented as a naïve view of the way the world works. Walter's decision to give Willy money for the
liquor license up front shows his naïveté about Willy's character but also his hope. He's willing to do whatever it takes
to be a successful businessman, and he's proud of the knowledge he feels he already has. Even though Ruth is
naïve about some aspects of doing business, her common sense and her apprehensions about Walter's involvement
and investment turn out to be accurate in the end.

Which characters from A Raisin in the Sun best represent Booker T. Washington's view that African
Americans should "accommodate" to a white world?

George Murchison and Mrs. Johnson both believe Washington's philosophy that black people should assimilate to
the dominant white culture, and they demonstrate this belief to the Youngers. Mrs. Johnson believes that once
African Americans, like Beneatha and even Mama, get a little education, they lose their humility and forget their
place. She even implies, through bringing up incidents of racially motivated violence, that they are asking for trouble
by moving to Clybourne Park. George Murchison is willing to succeed within white power structures instead of
challenging them. He takes pride in his wealth and doesn't understand Walter's eagerness to achieve status and
lasting change for African Americans

Which characters in A Raisin in the Sun best represent W.E.B. DuBois's view that African Americans
should "agitate" and make change through disruption?

Beneatha, Walter, and Asagai all support DuBois's view to different degrees. Beneatha is on what Walter jokingly
calls the "Committee on Unending Agitation"—she identifies the dominant culture in America as "oppressive" and,
during Act 2, decides to fight assimilation in her appearance by wearing her hair naturally. Walter believes he can
outshine many white executives in business and looks to African warriors as examples of manhood and strength. He
does, however, struggle with his desire to succeed in a predominantly white world. When Beneatha and Walter reject
 A Raisin In The Sun discussion questions
Lindner's buyout offer, they show they won't compromise to keep peace. Asagai is against assimilation, which he
says is popular among African Americans. He believes in working for change, even if circumstances seem bleak or if
mistakes are made.

In A Raisin in the Sun how does Mama use domestic tasks to cope with deeper troubles?

Mama is practical and responds to trouble by looking for small, concrete ways to make things better. When Walter
loses the remaining settlement money, Mama focuses on ways they can brighten up the apartment with a new
bureau and the curtains meant for the house. She believes brighter surroundings will "cheer us all up so that we
forget trouble ever come." In the past she selected the apartment's furnishings with love and care, though they
weren't going into the house she and Big Walter dreamed of. She also works diligently to keep the house clean and
her plant maintained, using the work to give her a sense of purpose even though her life hasn't given her the garden
she dreamed of.

How do the characters in A Raisin in the Sun refer to the recent past of slavery, and what effect do these
references have?

The hat Travis gives Mama makes the other Youngers think of chopping cotton, and Beneatha references "Scarlett
O'Hara"—a fictional Southern belle who is a caricature of the old South. Their laughs turn deep pain into dark
comedy. When Walter considers taking Lindner's money, he recognizes that he's letting a white man keep him from
owning property. Mocking himself for this decision Walter lapses into a "slow-witted movie stereotype" of the eager-
to-please slave speaking in dialect to his master. As Mama says when she refers to the previous "five generations of
people who was slaves and sharecroppers," the Youngers always kept their dignity and pride even when they didn't
have their freedom. Mama's words remind Walter of what his family has overcome and influence his final decision to
keep the house.

How does the child Mama lost long ago affect her attitudes and decisions in A Raisin in the Sun?

Mama is determined not to lose another child when Ruth becomes pregnant. She will also do anything for her
children—buy a house for Travis to grow up in even though it will be dangerous to live in a white neighborhood and
give money to Walter although she may not agree with how he might invest it. Her appreciation of the bond of family
helps her forgive and love Walter in the final act. She's seen her husband through the pain of losing a child and
knows the importance of loving someone "when he's at his lowest." She feels the loss contributed to Big Walter's
death, as well.

According to the stage directions in Act 2, Scene 1 of A Raisin in the Sun, Walter "sees what we [the
audience] cannot." What does he see?

Walter frequently sees into an imagined past and the future—he is a "prophet" as Beneatha derisively calls him. He
sees leadership in his future and as his heritage. The play allows a parallel reality onto the stage, that of ancient
Africa and tribal warriors, but it doesn't stage this scene explicitly. The Nigerian music evokes the scene in Walter's
imagination and in Beneatha's—unique to them, and not an experience they can share with others. The scene also
shows that Africa exists as a myth and a promise in the Youngers' minds.

Why does George call Walter "Prometheus" in A Raisin in the Sun, and what does the allusion reveal about
Walter's character?

In Greek mythology Prometheus was the fire-bringer and protector of humanity who was punished by Zeus for his
actions. He was immortal and larger than life, similar to Walter's description of himself as "a giant—surrounded by
ants." Prometheus's retrieval of fire reminds George of Walter's desire to reach out and grab the "stars gleaming."
Though Walter doesn't know who Prometheus is he recognizes George's mocking tone clearly. Walter may want
more power, but George doesn't think he can obtain it. George perhaps also believes that white society would punish
Walter if he did succeed, just as Prometheus was punished. The misunderstanding highlights Walter's lack of formal
education and his complete confidence that he can stand as an equal among those with more experience and
training.

What do Hansberry's references to "Chaka" (a Zulu warrior chief) and to Walter's "unexpected majesty"
reveal about Walter's character in A Raisin in the Sun?
 A Raisin In The Sun discussion questions
To the Youngers Africa has an inspirational quality. By seeing himself as a descendant of Chaka, Walter can obtain
the majesty he continually seeks. The allusion also depicts the pride and strength the Youngers feel in their African
ancestry and foreshadows Walter's final decision in the play where he proclaims that the Youngers will move into the
house their father earned. Walter is a proud descendant of his father, as Travis is his descendant. Lineage is a point
of pride, particularly for the men in the play. Asagai mentions his Yoruba tribal ancestry, and Walter wants to honor
his father.

How does George's vision of Africa compare or contrast with Asagai's vision of Africa in A Raisin in the
Sun?

George doesn't think much of African achievements. He refers to Africa as "raggedy-assed spirituals and some grass
huts." Fully assimilated into American culture, George buys into the myth of Africa as backward compared to the
West. As a good student George can name the African civilizations that Beneatha presumably praises to him, but the
meaning of what he's learned has not sunk in. As a native of Nigeria Asagai alone among the characters sees Africa
as a complex continent, rather than an idea. He sees nations with flawed leaders and confused citizens, like America.
While Asagai is aware of the illiteracy and disease in Africa, he believes renewal is possible through looking to the
future of medicine and to the heritage of the past.

What does Big Walter, the deceased father, represent in A Raisin in the Sun?

Big Walter represents the family's lineage and their working-class history in America. He also represents a past
they're trying to escape even as they honor him. He worked so hard at low-wage jobs that he became physically ill.
The family, benefiting from his death through the settlement check, has a complex relationship to their new funds. In
a way Big Walter has given them the gift of new lives and a way out of his fate—though the manner of the gift is not
one any of them would have chosen. He has made the ultimate sacrifice for his family. In Beneatha's life Big Walter
represents patriarchy and the rule of men. Asagai tells her the goals in her household stem from "the death of a
man," and she should take ownership of her future rather than leave it up to her father.

How does Mrs. Johnson act as a contrast for the main characters in A Raisin in the Sun?

Mrs. Johnson is a contrast to the Youngers because she is a character who has made different life choices and
adopted different ideas than they have. Her contentment contrasts with the Youngers' dissatisfaction. Her brashness
contrasts with Mama's dignity since Mama doesn't allow racial slurs to be spoken in the home. Mrs. Johnson shows
Mama and Ruth's resistance to Booker T. Washington's idea that "education has spoiled many a good plow hand."
Hansberry includes the quotation to show that Mama hasn't accepted the idea of "accommodation." Mama wants
more than manual labor, not just for her children but also for herself. Ruth finds Mrs. Johnson ignorant and, as a
result, begins to take responsibility for her own goals. When Mrs. Johnson says there is nothing wrong with being a
chauffeur, she provides a contrast to Walter's point of view. Walter tries to convince his son that he shouldn't aspire to
a service job just because his father has one.

What is the significance of music to Walter in A Raisin in the Sun?

Music, particularly the blues and the saxophone, provide Walter with relief and a close connection to his community.
When he listens to the musicians at the Green Hat, he can temporarily let go of his worries: "don't nothing matter
worth a damn." While he can find solace in the company of musicians when he's sad, Mama wants him to be able to
find the same solace at home. The Nigerian folk song Beneatha plays allows Walter to join in the call and response (a
form of African and African American narrative in which the listeners answer the speaker in some way) as the warrior
and the giant he believes himself to be. This allows him to relax and unwind while imagining, possibly, being able to
reach his goals.

Why does Walter emphasize education to Travis in Act 2, Scene 2 of A Raisin in the Sun?

Education means possibility and success. Even though Walter mocked George Murchison's reliance on education as
a symbol of status, he wants that same status for his son. Walter knows that being a father means enabling your
children's dreams as well as your own. Walter didn't have an opportunity for education. Through his dreams of
upward mobility for Travis he can see an improving future for black Americans. Walter's own dream involves being an
executive in an office and having a middle-class home with domestic help, but Travis can do even better. Although
Walter derides his sister's goals, he's also inspired by them; if his sister, a woman, can get a degree, so can his son.
 A Raisin In The Sun discussion questions
Which characters express the most hope in Act 1 of A Raisin in the Sun, and which characters express the
most hope in the final act?

Walter expresses the most hope in the first act. Though he's desperate and unhappy, he's optimistic about what the
liquor store will mean for the family. No one else shares his enthusiasm. As Ruth points out he's not bringing up new
ideas, just reiterating his old ones. Even so Walter is invigorated and ready to leave reality for the future. Ruth
expresses the most hope by the final act. She encourages Mama to move into the house despite their fortune's turn
for the worse. The formerly tired Ruth is now driven to action—perhaps galvanized by her new child. Her singing of
the "No Ways Tired" song reflects this transformation.

What purpose do the comic interludes serve in A Raisin in the Sun?

Comic relief occurs when a funny episode or element lightens the emotional tension of the play. The play's rapid
shifts in tone, from comic to tragic and back again, mimic the real life of a family whose members know each other
well. The Youngers make fun of each other to show their affection and joke after stressful events to cope with grim
reality. The humor rarely mocks the characters themselves but rather the impossible situations they're put in—living
hopefully in a seemingly hopeless situation. Light interludes also break tension for the audience between serious
acts, making the play elicit a variety of emotions and thus provide a richer experience.

In A Raisin in the Sun what are "the two meanings" that Beneatha perceives in Lindner's phrase "the way we
do things out in Clybourne Park"?

The phrase has two meanings, one innocent, one sinister. The more innocent meaning of the phrase is that the
Clybourne Park community, like all communities, has rituals and routines that new members should know about. The
more sinister meaning (and Lindner's real meaning) is that the community is homogeneous with no plans to change.
It doesn't wish to accommodate members who are different from what the people of Clybourne Park are used to in
any way, especially racially different. The Youngers are the ones who will have to adapt to whatever white residents
want rather than exercising visions of their own. Lindner comes with strength in numbers ("we") as well as racial
prejudice.

In A Raisin in the Sun why does Lindner call the Youngers a "nice family of folks"?

Lindner isn't presented as a malicious person even though he's the antagonist. Hansberry is making a point here:
Lindner's outer kindness and inner racism are fairly typical among people who don't consider themselves racist.
Lindner attempts to solicit the Youngers' sympathy so they'll be more inclined to do what he asks. He may actually
believe they're good, hardworking people, but he's still enforcing the prejudice of his community. By encouraging
dialogue and presenting his position as one of concern Lindner tries to mask his true intentions. He shows that racism
in the 1940s and 1950s has put on a more civilized costume than in the past but intentions haven't changed.

Why do Walter, Beneatha, and Ruth use humor and sarcasm to relate their experience with Karl Lindner to
Mama in A Raisin in the Sun?

They used humor and sarcasm because the reality is too painful to deal with. Humor is used as a weapon and a way
of coping by the main characters—if they don't laugh at life's injustices perhaps they'll cry. Ruth's joke about "that's
the way the crackers crumble" shows that she sees racism as inevitable. Since it's not going away she might as well
handle it with amusement. They're also trying to protect Mama by presenting the situation in a way that doesn't terrify
her since they all know the real risks of moving to Clybourne Park. By the third act the pain is so present that they're
not joking anymore.

In the final scene of A Raisin in the Sun Asagai responds to Beneatha's questions by saying he "live[s] the
answer." What does he mean?

Beneatha, as an American, has a certain privilege that Asagai does not. While Beneatha can ask "what good is
struggle ... where are we all going and why are we bothering," Asagai can't afford to stop and wonder. He feels the
urgency of bringing strong leadership to Africa and of living an examined life, and he knows he's going to struggle.
His life hasn't been easy, and he doesn't expect it to be. But Asagai refuses to give up and he feels that by asking
such questions at all Beneatha is giving up herself. He shows her the necessity of continuing to work, even when the
"why" isn't always clear.
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In A Raisin in the Sun what kind of leader does Asagai envision himself becoming, and how does his vision
of leadership compare and contrast with Walter's vision?

Asagai's goal is to "hold on to the substance of truth"—to maintain his emotional integrity. He realizes that there are a
number of different potential outcomes if he achieves leadership. He could abandon his morals or be killed or simply
perpetuate outdated ideas. Walter holds a much more concrete, optimistic, and simplistic vision of leadership. He
imagines the material objects that will surround him—he'll have a car, servants, secretaries "getting things wrong." He
pictures all the trappings of a middle-class American life. Walter doesn't fear that he will make bad decisions, even
though he does make a catastrophically bad decision in pursuit of his goal. He's not as concerned with maintaining
integrity as Asagai is. Both men are extremely confident. Beneatha thinks Asagai will be confident even in death.
When she says, "The martyr!" she's ridiculing the strength of his conviction but with respect.

What events in A Raisin in the Sun support Beneatha's belief that "there isn't any real progress"?

Though African Americans are free in the twentieth century violence against them continues. Bombings and the
lynchings in the South that Mrs. Johnson refers to are regular occurrences. African Americans even perpetuate
violence and other crimes against one another, as Willy Harris does with his theft. Lindner speaks cordially and
respectfully, but he wants to prevent the Youngers from taking possession of what they've earned. Hansberry
questions how much progress society has made and challenges the audience to do better. The Younger family
members don't work as slaves, but they work low-wage jobs they don't enjoy. Every effort they make toward upward
mobility is challenged. Despite these realities the Youngers work to make the best life possible for themselves.

Why does Walter tell Lindner that his father almost "beat a man to death" in Act 3 of A Raisin in the Sun?

Walter's reference to violence, although not a direct threat, hints to Lindner that Walter isn't going to just accept what
the white community decides. This moves Walter from acting "like a small boy" with a "simple groping quality" in his
speech to acting like a man and establishing his authority. Walter also wants to strengthen himself by remembering
his father—a hardworking man who didn't tolerate disrespect and who physically defended himself. As Walter's tone
shifts so does his mindset, and by the end of his dialogue with Lindner he's made a final decision that makes sense
and completes his character's growth.

In Act 3 of A Raisin in the Sun why are the Youngers "deliberately trying to ignore the nobility" of Walter's
final actions as they prepare to move?

The Younger women deal with any kind of disruption, good or bad, by taking action. They're filled with emotion after
seeing this change in Walter, and they're also realizing that their own situation has changed in an instant. They need
to fill the moving van and proceed to the next phase of their lives instead of slowing down, stopping, or getting
bogged down in emotions. After Walter makes his decision the pace of the action picks up and the characters leave
the stage fairly quickly. Because of this dramatic pacing Walter's coming into his manhood remains fresh in the
audience's mind at the play's end. A prolonged portrayal of the move would detract from that powerful moment.

Why does Mama return to the apartment to retrieve her plant in Act 3 of A Raisin in the Sun?

Mama realizes what her plant means to her. It's a stand-in for the family, trapped in an apartment with little sunlight,
limited in the ways it can grow. Though she will have access to a garden at the new house Mama can't forget that her
plant still needs her as much as she needs something to tend to. The symbol also recalls nature in the way the title of
the play does: living things, like plants and raisins, react to and are restricted by their physical environments. Mama
has a profound relationship to nature, picking a house with sunlight and comparing Walter to "a rainbow after the
rain."

What is the significance of Langston Hughes's metaphor of "a raisin in the sun" to A Raisin in the Sun?

In Hughes's poem "Harlem," named after the historic African American neighborhood, the raisin in the sun is a
metaphor for "a dream deferred." Like the raisin, Hughes says, the dream might "dry up." Many of the main
characters' dreams have dried up and lost their strength over the years. Mama, Ruth, and Walter all dreamed of
home ownership and a middle-class lifestyle with even better prospects for their children. Beneatha dreams of living
in an equal society, where effort and strength matter more than gender, race, and class. Like the dried-up raisin, their
 A Raisin In The Sun discussion questions
dreams have shriveled in the cramped apartment, a space that reflects the Youngers' low value to their society.
Hansberry shows how human beings handle and grow beyond these restrictions—how their dreams define them