Before
even reading the very first page of Lorraine Hansberry’s A Raisin in the Sun, I first took note of the epigraph at the
beginning of the book. The poem featured in the epigraph was Langston Hughes’ “Dream
Deferred.” Because the poem contains a line questioning whether deferred dreams
are like raisins withering in the sun, which, not coincidentally, is also the
title of the play, I made the presumption that one of the central themes of the
play was likely to focus on the deferred, or postponed, dreams of one or more
of the main characters. Fortunately, as the novel drew to a close with Act III,
I learned that my assumption of the connection between the poem and the play
was correct; consequently, I was able to implement my knowledge of this
connection in order to come to a greater understanding of the novels. Once
again, even the most obscure of literary techniques, such as an epigraph, have
proven itself to be very functional tools to literary analysis!
Every
author would surely agree that the title which he selects for his work is
absolutely essential to the success of his piece. The title of a song, story,
poem, play, etc. immediately invites the viewer to make prejudgments of the
work based solely on the title rather than the essence of the piece itself.
With this consideration in mind, I initially wondered greatly as to why
Hansberry would choose create a title for her play with the word “raisin” in
it; however, now that I am aware of the play’s connection to Langston Hughes’ “Dream
Deferred” I now understand the implications of this title and appreciate it in
its entirety. Unfortunately, the fact remains that readers who are not familiar
with this particular poem by Langston Hughes are likely to be confused by the
mention of a raisin and may even read the entire book without gaining an understanding
of the title’s weighty hints at the play’s theme. Nevertheless, I still commend
Hansberry for selecting such a creative title for the play which the actions of
the third and final act support greatly.
As the
play’s action draws to a close, each character is enabled to make powerful
insights as to the personal value which they placed upon their own dreams as
well as the significance in making the appropriate sacrifices to pursue these
dreams rather than abandon them. For example, after learning that Walter lost thousands
of dollars of the family’s money, each member seemed to let their grieving
process run its course in its own way for a matter of time. Walter laid
dumbfounded on the bed, mourning the loss of his liquor store; Ruth bemoaned
the loss of an opportunity to move away from the apartment; Mama was suffering
with sever disappointment; and Bennie was left with the immense challenge of
accepting the temporary if not permanent end to her pursuit of finishing
college and becoming a doctor. However, just as Bennie was about to abandon all
hope of every accomplishing anything in her life, Asagai gently reminds her
that adversity is no justifiable reason to abandon one’s dreams. Shriveling up
like a raisin in the bright sunlight of difficult challenges expresses weakness
and a loss of vitality, something which Asagai would never expect to see from
his “Alaiyo.” Just as Bennie seems to come to terms with her loss, Walter also
surprisingly demonstrates his first signs or maturity when he overcomes his
self-pity at the loss of his liquor store and decides to move into the neighborhood
predominately inhabited by white Americans. He remarks, “…who decies which
women is suppose to wear pearls in this world…I think my wife should wear some
pearls” (Hansberry, 143). With this statement, Walter finally brings the
meaning of not postponing one’s dreams and pursuing them rather than deferring
them by choosing to take action and fight for his family’s well-being, or “pearls.”
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