Dreams “Deferred” But Identity Affirmed and Manhood Restored: A New Look at A Ra

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[a]　Department　of　English，　Faculty　of　Arts，　Assiut　University，　Egypt.

*　Corresponding　author.

Received　19　October　2012；　accepted　22　December　2012

Abstract

This　article　explores　how　Hansberry　handles　blacks’　dreams　masterfully　and　uniquely　in　her　play　A　Raisin　in　the　Sun.　Distinctively　different　from　the　other　black　writers　who　dealt　with　the　issue，　she　points　out　that　the　deferment　and　collapse　of　these　dreams　can　be　positively　exploited　to　strengthen　blacks　and　help　them　restore　their　long　absent　manhood　and　dignity　in　America.　She　has　pigmented　her　characters　with　doggedness　and　insistence.　They　wholeheartedly　do　their　best　to　fulfill　their　dreams　and　when　these　dreams　are　thwarted，　a　character，　either　independently　or　with　the　help　of　other　characters，　gains　further　strength　and　is　markedly　transformed　to　the　better.　To　bring　this　view　to　light，　the　article　concentrates　on　the　long　deferred　dream　of　the　mother　Lena，　the　thwarted　dream　of　the　son　Walter，　the　difference　between　the　two　dreams　and　how　the　former　has　been　meticulously　manipulated　by　the　mother　to　affirm　her　identity　and　help　her　son　restore　manhood　and　dignity　in　a　racist　and　hostile　society.

Key　words：　Lorraine　Hansberry；　A　Raising　in　the　Sun；　Identity　affirmation；　Deferment　of　dreams

Sayed　Abdelmawjoud　（2012）.　Dreams　“Deferred”　But　Identity　affirmed　and　manhood　restored：　A　new　look　at　A　raisin　in　the　Sun.　Studies　in　Literature　and　Language，　5（3），　-0.　Available　from：　http：///index.php/sll/article/view/j.sll.1923156320120503.1254　DOI：　http：///10.3968/j.sll.1923156320120503.1254

The　issue　of　blacks’　dreams　was　recurrent　in　several　black　writers’　literary　productions，　most　important　among　which　are　Lorraine　Hansberry’s　（1930-1965）　play　A　Raisin　in　the　Sun　（1959）　and　Langston　Hughes’s　（1902-1964）　long　poem　“Montage　of　a　Dream　Deferred”　（1951）　wherefrom　the　title　of　the　play　was　taken.　Hughes’s　poem　played　a　significant　role　in　triggering　off　the　writing　of　our　under-analysis　play.　Both　Langston　Hughes’s　poem　and　Hansberry’s　play　have　a　lot　in　common　as　they　both　concentrate　on　the　continual　deferment　of　achieving　blacks’　dreams　in　America　and　the　different　possibilities　awaiting　these　dreams.　However，　Hansberry　has　uniquely　managed　to　deal　with　this　issue　from　a　broader　perspective.　Never，　either　before　or　after　Hansberry，　did　a　black　writer　manage　to　deal　with　blacks’　dreams　in　the　way　she　did.

This　paper　tries　to　illustrate　how　Hansberry　successfully，　masterfully　and　differently　manages　to　go　further　and　explore　how　the　deferment　of　these　dreams　can　be　positively　exploited　to　build　up　black　characters　and　help　them　affirm　their　identity　and　restore　their　long　absent　manhood　and　dignity　in　the　USA.　The　doggedness　with　which　Hansberry　pigments　her　characters　is　what　gives　her　under-discussion　play　universality，　distinction　and　wide　recognition.　The　characters　wholeheartedly　do　their　best　to　fulfill　their　dreams　and　when　these　dreams　are　thwarted，　a　character，　either　independently　or　with　the　help　of　other　characters，　gains　further　strength　and　is　markedly　transformed　to　the　better.

To　bring　this　view　to　light，　the　article　concentrates　on　the　long　deferred　dream　of　the　mother　Lena　and　how　she　patiently　manages　to　affirm　her　identity，　the　thwarted　dream　of　the　son　Walter，　the　difference　between　the　two　dreams　and　how　the　former　has　been　meticulously　manipulated　by　the　mother　to　help　her　son　restore　manhood　and　dignity　in　a　racist　and　hostile　society.　The　different　forces　that　have　played　a　role　in　the　deferment　or　the　total　collapse　of　these　dreams　are　shed　light　on.　The　great　effort　exerted　by　the　mother　to　stand　against　them　all　is　also　illustrated.　In　so　doing，　we　could　also　falsify　what　has　been　claimed　by　Harris　（1995）　that　Lena’s　strength　has　crippled　her　son　Walter　and　her　immense　physical　and　moral　presence　continues　to　loom　large　（p.　116）.　The　mother　does　have　an　immense　impact　on　her　son　but　this　impact　is，　as　proved　in　our　discussion　hereafter，　completely　positive，　and　not　negative　as　claimed　by　Harris.

A　Raisin　in　the　Sun　“was　a　landmark　success　and　was　subsequently　translated　into　over　thirty　languages　on　all　continents”　（Wilkerson，　1983，　p.　8）.　It　is　the　play　wherewithal　Hansberry　“had　stunned　the　Broadway　stage”　and　“had　surpassed　two　of　America’s　most　renowned　playwrights，　Tennessee　Williams　and　Eugene　O’Neill，　for　the　New　York　Drama　Critics　Circle　Award　for　Best　Play　of　the　1958-59　season”　（Wilkerson，　1987，　p.　642）.　Hansberry　“was　the　youngest　American，　first　woman，　first　black　to　win　this　award”　（Carter，　1980，　p.　42）.

Hansberry’s　play　“tells　the　story　of　a　mid-twentieth　century　black　American　family”　（Lund，　1989，　p.　83）.　The　incidents　circle　around　the　members　of　this　family：　the　mother　（Lena），　her　daughter　（Beneatha），　Lena’s　son　（Walter），　his　wife　（Ruth）　and　their　son　（Travis）.　They　have　been　living　in　a　“cramped，　roach-infested　apartment”　（Hughes，　2011，　p.　D1）.　Each　of　the　Youngers　dreams　though　in　a　way　different　from　those　of　others.　The　mother　has　long　been　dreaming　of　having　a　comfortable　house　in　an　all-white　neighborhood，　a　dream　that　her　daughter-in-law　earnestly　shares.　Walter　dreams　of　accumulating　money　and　getting　rich　as　soon　as　possible.　The　youngest　daughter　Beneatha　dreams　of　completing　her　education　and　having　a　degree　in　medicine　“despite　the　era’s　dictates　against　her　gender　and　race”　（Foley，　2011，　p.　D20）.　What　all　the　members　share　in　common　is　that　they　are　expecting　a　ten-thousand　American　dollars　check　which　is　the　life-insurance　of　Old　Younger.　This　check　represents　“the　engine　of　the　plot”　（Kingston，　2010，　p.　28），　and　“the　catalyst　for　change　…　[for　the]　family　members　who　have　different　and　conflicting　designs　for　the　money”　（Palm，　2012，　p.　M30）.　Each　of　the　characters　wants　to　use　the　money　to　fulfill　his　dream.

When　the　money　comes，　the　mother，　as　a　compromise，　uses　one　third　to　buy　a　house　in　a　white　neighborhood，　and　gives　the　two　thirds　for　Walter　to　save　one　for　his　sister’s　education　and　to　exploit　the　other　in　the　business　he　wants　to　start　with　his　white　friend.　Not　attending　to　his　mother’s　instructions，　Walter　gives　all　the　money　to　his　friend　who　suddenly　disappears.　The　white　character，　Mr.　Linder，　comes　to　the　family　to　negotiate　buying　back　the　house　as　it　is　against　the　racial　laws.　Swindled　of　the　money，　Walter　was　about　to　sell　the　house　at　a　considerable　profit.　Shocked　by　what　the　son　wants　to　do，　the　mother　tries　her　best　to　dissuade　the　son，　she　succeeds　and　Mr.　Linder　is　ordered　out.

To　fully　understand　Lena’s　dream　and　its　motivations，　we　need　to　throw　some　light　on　the　dream　of　the　blacks　who　were　relegated　and　treated　like　animals　in　the　Southern　plantations.　Their　biggest　dream　was　to　migrate　to　Northern　states　to　find　better　job　opportunities　and　to　escape　the　inhuman　treatment　they　long　endured　and　suffered　from　in　the　South.　They　thought　that　in　the　North　they　would　be　free　and　manage　to　achieve　progress　in　their　life.　However，　their　dream　of　becoming　part　and　parcel　of　the　American　mainstream　was　shamefully　hindered　as　they　were　dehumanized　and　cornered　in　ghettos　that　were　inappropriate　for　human　life.　These　areas　were　over-populated　by　black　residents　and　utterly　neglected　by　the　white　government.　Such　sordid　social　conditions　caused　some　blacks　to　dream　of　moving　to　all-white　neighborhoods.　Such　a　tendency　is　represented　in　the　analyzed　play　by　Lena　whose　dream　starts　even　before　the　start　of　the　play.

Lena　migrated　to　the　North　with　her　husband　hoping　to　achieve　certain　progress　and　have　a　house　of　their　own.　At　the　very　start，　they　were　satisfied　with　a　rented　apartment　in　a　black　ghetto　thinking　that　within　a　year　they　can　save　some　money　and　buy　a　house　in　a　good　neighborhood.　Unfortunately，　none　of　this　has　happened.　Her　long　deferred　dream　and　suffering　are　explicitly　stated　in　her　conversation　with　her　daughter-in-law　Ruth：

RUTH…　Well，　Lord　knows，　we　have　put　enough　rent　into　this　here　rat　trap　to　pay　for　four　houses　by　now…

MAMA　（looking　at　the　words　“rat　trap”　and　then　looking　around　and　leaning　back　and　sighing

in　a　suddenly　reflective　mood　）.　“rat　trap”

yes，　that’s　all　it　is.　（Smiling）　I　remember　just　as　well　the　day　me　and　big　Walter　moved　in　here.　Hadn’t　been　married　but　two　weeks　and　wasn’t　planning　on　living　here　no　more　than　a　year.　（she　shakes　her　head　at　the　dissolved　dream.）　We　was　going　to　set　away，　little　by　little，　don’t　you　know，　and　buy　a　little　place　out　in　Morgan　Park.　（Hansberry，　1959，　p.　421）

Lena’s　and　Ruth’s　words　are　highly　indicative.　Both　of　them　have　become　dissatisfied　with　the　life　they　have　been　leading　and　the　apartment　wherein　they　“are　packed　like　sardines”　（Siegel，　2012，　p.　G12）.　The　quoted　lines　indicate　also　that　whites　have　been　exploiting　blacks　renting　them　bad　apartments　and　forbidding　them　from　moving　to　other　good　neighborhoods.　The　house　is　described　as　a　“rat　trap”　which　means　that　it　is　not　at　all　appropriate　for　human　living.　We　are　told　in　other　parts　of　the　play　that　Travis　was　happy　because　he　killed　a　rat，　and　that　every　now　and　then　the　Youngers　find　no　way　but　to　spray　the　apartment　throughout　with　insecticides　to　kill　cockroaches，　acts　which　are　symbolically　rich　in　two　ways.　First，　they　illustrate　how　these　ghettos　where　utterly　neglected　and，　thus，　have　become　a　fertile　soil　where　insects　such　as　rats　and　cockroaches　would　vigorously　grow.　Second，　the　repeated　acts　of　killing　rats　and　cockroaches　might　be　taken　to　represent　Lena’s　dream　and　those　of　all　other　blacks　to　put　an　end　to　their　suffering；　a　dream　that　whites　would　never　allow　them　to　fulfill.　Once　the　apartment　is　sprayed，　rats　and　cockroaches　and　other　insects　disappear　for　some　time，　and　when　the　impact　of　spray　diminishes，　they　begin　to　appear　once　more.　Similarly，　Lena　has　been　repeatedly　so　burdened　by　expensive　rents　and　other　obligations　that　she　has　not　been　able　to　fulfill　her　dream　until　eventually　she　finds　no　way　but　to　wait　for　her　deceased　husband’s　insurance　money.　Even　after　having　the　money　she　is　hindered　by　other　race-related　acts　and　the　play　comes　to　an　end　without　having　her　dream　achieved.　Important　to　add　here　is　that　though　the　dream　has　been　repeatedly　hindered，　she　has　never　given　it　up.　For　her，　it　is　a　way　of　achieving　her　identity.

The　two　lexical　items　“rat　trap”　are　very　telling　in　that　they　indicate　whites’　superiority　over　blacks　on　the　one　hand，　and　how　painful　and　thorny　the　way　to　success　in　front　of　blacks　is　on　the　other.　Whites　think　that　blacks，　like　rats，　should　be　kept　in　troubles，　or　rather　in　traps，　from　which　they　cannot　set　themselves　free.　This　is　very　clear　as　the　mother，　her　children　and　grandson　have　long　been　crammed　in　this　small　and　inappropriate　apartment，　a　fact　that　indicates　mama’s　long　suffering　and　endurance　that　have　continued　for　three　generations.　No　sooner　did　she　manage　to　terminate　her　subjugation　and　slavery　in　the　South　and　migrate　to　the　North　than　she　has　been　thrown　into　an　ocean　of　discriminatory　acts　in　the　North.　The　stage　directions　vividly　illustrate　Lena’s　psychological　state　as　she　“leans　back”，　“sighs”　and　“shakes　her　head”　regretfully　as　she　has　seen　her　long　deferred　dream　thrown　into　the　world　of　oblivion.

Hansberry，　being　“one　of　the　most　gifted　playwrights　of　the　twentieth　century”　（Guillory，　1992，　p.　558），　was　meticulous　enough　to　affirm　her　view　that　the　life　Lena，　like　other　blacks，　has　long　been　leading　in　ghettos　is　inhuman.　The　writer　exposes　right　from　the　very　start　of　the　play　how　Lena　and　her　family　sleep，　sit　and　dine.　All　the　members　of　an　extended　family　are　crammed　in　their　two-room-apartment　to　the　extent　that　they　do　not　have　a　space　where　the　grandson　Travis　can　comfortably　sleep.　To　clarify　the　psychological　torment　that　Lena　and　her　family　endure，　Hansberry　focuses，　at　the　very　start　of　the　play，　on　one　of　the　basic　necessities　that　all　human　beings　repeatedly　need，　i.e.　the　bathroom.　The　play　opens　with　Ruth　trying　to　wake　up　her　son　Travis　and　husband　Walter　to　catch　their　turns　in　the　bathroom　before　other　people　wake　up　and　amass　in　front　of　it　each　waiting　their　turns.　In　so　doing，　Hansberry　justifies　and　stresses　Lena’s　need　and　right　to　dream　of　getting　out　of　the　ghettos　and　moving　to　a　sanitarian　house，　a　dream　that　Hansberry　herself　and　all　other　blacks　share.　This　was　explicitly　stated　in　Hansberry’s　To　Be　Young，　Gifted　and　Black：

We　must　come　out　of　the　ghettos　of　America，　because　the　ghettos　are　killing　us，　not　only　our　dreams，　but　our　very　bodies.　It　is　not　an　abstraction　that　the　average　American　negro　has　a　life　expectancy　of　five　to　ten　years　less　than　the　average　white…　that　is　murder　（1995，　p.　117）.

Above，　Hansberry　justifies　blacks’　urgent　need　to　get　out　of　the　ghettos　as　they　are　hindering　the　fulfillment　of　their　dreams　and　shortening　their　life　span.　It　is　important　to　note　here　that　these　ghettos，　though　neglected　and　not　even　given　a　small　portion　of　the　care　given　to　white　neighborhoods，　were　intentionally　rented　by　white　landlords　to　blacks　at　higher　prices　as　explicitly　made　clear　in　the　words　of　Ruth.　Lena　and　her　daughter-in-law　have　to　keep　toiling　or　serving　inside　white　people’s　houses　to　be　able　to　afford　the　rent　and　the　physical　food　wherewithal　to　survive，　and　are　prevented　from　achieving　a　noticeable　progress　in　their　life.　That　is　why　Lena’s　and　her　husband’s　dream　of　having　a　house　of　their　own　have　long　been　deferred　and　could　not　have　been　fulfilled　during　Mr.　Younger’s　life.　The　man，　owing　to　being　cornered　in　these　ghettos，　has　been　sent　to　his　grave　earlier　leaving　his　dream　unfulfilled，　and　his　wife　has　to　wait　for　his　life-insurance　money　to　fulfill　the　dream.

Mistakenly，　Lena　thinks　that　having　the　money　will　help　her　solve　her　problems　and　get　her　dream　achieved.　However，　what　happens　in　actuality　is　totally　different　as　the　affordance　of　the　money　represents　the　real　momentum　towards　further　troubles　in　the　play.　Having　the　money，　she　begins　to　act　practically　towards　the　achievement　of　her　dream.　She，　“seeking　more　physical　space　for　the　family　and　the　psychological　freedom　it　would　bring”　（Wilkerson，　1986，　p.　443），　“makes　a　down-payment　on　a　house”　（Anderson，　1976，　p.　93）　in　an　all-white　neighborhood　and　this　has　caused　her　to　run　into　troubles　that　have　not　been　ended　even　with　the　play’s　end.　First，　she　has　to　face　Whites’　violent　and　non-violent　reactions　towards　her　intention　to　move　into　the　all-white　neighborhood.　Second，　she　has　to　confront　the　discouragement　and　the　conflicts　that　result　from　other　black　characters　in　the　play　owing　to　her　intention　to　move，　most　important　of　which　is　the　conflict　that　begins　to　arise　between　her　and　her　son　because　the　fulfillment　of　their　dreams　relies　basically　on　this　money.　Noteworthy　of　mentioning　here　is　that　Lena　gets　stronger　and　stronger　and　never　gives　her　dream　up　or　admits　defeat.　She　has　become　like　the　iron　which　has　been　purified　and　turned　into　steel　in　a　high-temperature　oven.　The　more　troubles　she　runs　into，　the　more　moral　strength　she　gets　and　the　stronger　her　personality　becomes.　She　firmly　clings　to　the　achievement　of　her　dream　thinking　that　it　the　sole　way　whereby　she　can　affirm　her　identity.

Concerning　whites’　violent　reactions　towards　Lena’s　decision　to　move，　Hansberry　was　intelligent　enough　to　raise　several　questions　in　the　on-looker’s　or　the　reader’s　mind.　Though　the　posed　questions　are　left　unanswered，　it　can　be　argued　that　the　play，　to　use　Wilkerson’s　（2005）　view　when　directing　the　play　in　1965，　offers　people　in　general　and　blacks　in　particular　“many　ways　to　reflect　on　their　lives　and　futures”　as　the　play　comes　to　a　close　while　the　Youngers　are　moving　to　their　newly-bought　house　in　the　all-white　neighborhood　（p.　785）.　We　cannot　tell　for　sure　what　will　happen.　However，　depending　upon　what　happens　in　reality，　we　can　safely　say　that　the　Youngers　are　going　to　be　repeatedly　attacked　by　whites　to　be　forced　to　move　out.　The　most　important　point　that　Hansbeery　wants　to　raise　and　concentrate　on　is　Lena’s　reaction　towards　these　threats　and　hostilities.　She　would　like　to　say　if　Lena　is　to　get　terrified　and　admit　defeat，　her　dream　will　be　terminated　for　good　and，　she　has　to　accept　inferiority　and　conduct　her　life　that　way，　and　this　is　the　tendency　that　Hansberry　detests　most.　Contrarily，　if　Lena　is　to　resist　oppression　and　continue　the　fight　she　has　already　begun　when　she　has　decided　to　buy　the　house，　she　will，　one　day，　affirm　her　identity，　fulfill　her　dream　and　attain　her　full　citizenship　which　is　closely　associated，　as　Matthews　（2008）　contended，　“with　property　ownership”　（p.　556）.　And　this　is　the　tendency　that　Lena　advocates　in　the　play，　and　Hansberry　vehemently　supports.　In　Lena’s　case，　Hansberry，　would　like　to　warn　all　blacks　against　the　dangers　of　submission.　She　wants　them　to　have　the　stamina　to　decide　and　to　go　ahead　and　never　retreat　even　if　this　would　take　them　to　a　bloody　confrontation，　and　this　is　what　really　happens　sometime　after　Hansberry　wrote　her　play.　Commenting　on　Hansberry’s　foresightedness，　Whiton　（1964）　stated：　“Indeed，　she　is　ahead　of　the　rest　of　the　people　who　have　written　of　Negro　and　white　relations　in　our　time”　（p.　12）.　Hansberry　would　like　to　say　if　blacks　do　not　admit　defeat，　their　dreams　will　sooner　or　later　come　true.

As　for　whites’　non-violent　reactions　towards　Lena’s　attempts　to　achieve　her　dream　and　buy　a　house　in　an　all-white-neighborhood，　this　attitude　is　represented　in　the　character　of　Mr.　Linder.　This　man　seems　keen　on　the　benefit　of　the　Youngers.　However，　when　we　delve　into　what　lies　deep　inside　him，　it　becomes　obvious　that　he　is　heart　and　soul　a　racist.　In　actuality，　he　believes　in　blacks’　inferiority　and　whites’　superiority.　He　thinks　that　blacks　do　not　fit　for　living　among　whites　as　they　are　going　to　contaminate　the　place　and　carry　their　bad　habits　and　social　diseases　and　spread　them　wide　among　whites.　This　man　adopts　the　policy　initiated　a　long　time　before　him　by　Abraham　Lincoln　who　freed　blacks　and　abolished　slavery　but　never　believed　in　their　equality　to　whites.　Lincoln　himself　admits：　“I　am　not，　nor　ever　have　been　in　favor　of　bringing　about　in　any　way　the　social　and　political　equality　of　the　white　and　black　races”　（Hine，　W.　C.　Hine，　&　Harrold，　2000，　p.　219）.　The　goal　of　such　tendencies，　as　indicated　by　Hoy　（1995），　was　“racial　tolerance，　not　equality”　（p.　118）.　So　does　Mr.　Linder　believe.　To　him，　blacks　are　human　beings　but　they　are　far　more　inferior　to　whites.　Consequently，　they　are　not　by　any　means　to　be　admitted　into　white　neighborhoods.

In　Hansberry’s　play，　Mr.　Linder　has　been　sent　by　the　Clybourne　Park　Improvement　Association　to　convince　Lena　not　to　move　to　the　white　neighborhood.　He　tells　the　Youngers　that　they　are　human　beings　and　have　the　right　to　choose　where　to　live.　Nevertheless，　for　the　benefit　of　both　blacks　and　whites，　they　both　should　be　separated　and　live　apart　to　avoid　any　clashes　that　might　ensue　from　the　daily　contacts　among　them　both.　He　would　like　to　say　that　they　are　segregating　both　blacks　and　whites　and　that　is　why　the　Youngers　will　not　be　welcomed，　if　admitted　at　all，　into　the　white　neighborhood.　His　view　is　vividly　crystallized　in　his　words：

…　you　have　got　to　admit　that　a　man，　right　or　wrong，　has　the　right　to　wants　to　have　the　neighborhood　he　lives　in　a　certain　kind　of　way.　And　at　the　moment　the　overwhelming　majority　of　our　people　out　there　feel　that　people　get　a　long　better，　take　more　of　a　common　interest　in　the　life　of　the　community，　they　share　a　common　background.　I　want　you　to　believe　me　when　I　tell　you　that　race　prejudice　simply　doesn’t　enter　into　it.　It　is　a　matter　of　the　people　in　Clybourne　Park　believing，　rightly　or　wrongly，　as　I　say，　that　for　the　happiness　of　all　concerned　that　our　Negro　families　are　happier　when　they　live　in　their　own　communities　（p.　466）.

Linder’s　words　are　thematically　rich　and　when　looked　at　superficially　indicate　one　extreme，　and　when　analyzed　in　depth　indicate　another.　On　the　surface，　they　seem　to　be　imbued　with　kindness，　compassion，　mercy　and　humaneness.　The　view　that　he　explicitly　states　is　that　both　blacks　and　whites　should　avoid　any　clashes；　each　should　mind　their　own　business.　It　is　better　for　whites　to　live　in　an　all-white　neighborhood，　and　for　blacks　to　live　in　an　all-black-one.　In　so　doing，　the　whole　nation　is　going　to　live　in　peace　and　the　bloody　confrontation　between　whites　and　blacks　can　be　avoided.

However，　when　his　words　are　deeply　ruminated，　it　can　be　easily　discerned　that　this　man　represents　the　non-violent　attitude　manipulated　by　whites’　to　resist　blacks’　integration　into　their　neighborhoods　（Matthews，　2008，　p.　556）.　This　man　is　a　racist　in　disguise.　He　knows　well　that　the　place　wherein　a　human　being　lives　denotes　his　social　status　and　whereby　his　superiority，　or　inferiority，　is　decided.　He　knows　well　that　all-white　neighborhoods　stand　for　superiority　and　all-black　ones　stand　for　inferiority.　By　achieving　her　dream　and　moving　to　an　all-white　area，　Lena　is　going　to　gain　some　strength　that　can　help　her　and　other　blacks　protest　against　whites　and　accept　degradation　no　more.　In　addition，　he，　like　Lincoln，　believes　that　if　the　Youngers　are　admitted，　they　are　going　to　bring　deterioration　to　the　whole　area.　That　is　why　he　twists　facts　and　states　that　blacks　are　happier　when　they　live　and　are　let　alone　and　so　are　whites.　It　is　whites　who　are　happier　when　blacks　are　discriminated　against　and　cornered　in　ghettos　that　do　not　fit　human　life.

JOHNSON.　…　Lord

I　bet　this　time　next　month　y’all’s　names　will　have　been　in　the　paper　plenty

（holding　up　her　hands　to　mark　off　each　word　of　the　headline　she　can　see　in　front　of　her）

“NEGROES　INVADE　CLYBOURNE　PARK

BOMBED！”

MAMA　（She　and　Ruth　look　at　the　woman　in　amazement）.　We　ain’t　exactly　moving　out　there　to　get　bombed.

JOHNSON.　Oh，　honey

you　know　I’m　praying　to　God　every　day　that　don’t　nothing　like　that　happen！　But　you　have　to　think　of　life　like　it　is

and　these　here　Chicago　peckerwoods　is　some　baaaad　peckerwoods.　（p.　456）

Very　apparent　in　the　above　lines　is　the　effort　Mrs.　Johnson　exerts　to　attract　Lena’s　attention　to　the　catastrophe　she　will　certainly　cause　to　her　family　if　she　insists　on　moving.　She　holds　up　her　hands　to　let　them　clearly　see　the　headline.　Her　profound　terror　can　be　clearly　seen　in　the　way　she　speaks　and　the　lexical　items　she　selects.　The　word　“peckerwoods”　is　doubly　meaningful　as　it　is　used　to　terrify　the　Youngers　and，　at　the　same　time，　to　refer　to　whites’　dominant　aggressiveness　and　mercilessness　at　that　time.　Stressing　the　dominance　of　whites’　violence　against　blacks　trying　to　improve　their　living　conditions　and　move　to　better　places，　Matthews　（2008）　stated：　“In　post-war　Chicago，　bombings，　demonstrations，　and　assaults　on　blacks　attempting　to　move　east　into　predominantly　white　neighborhoods　were　on　the　rise　（p.　556）.”　Important　to　note　here　is　Lena’s　reaction　to　this　discouraging　woman.　She　has　given　her　a　deaf　ear　and　has　decided　to　affirm　her　identity　and　move　even　if　all　the　members　of　the　family　will　be　in　jeopardy.

In　this　dialogue，　Hansberry　wants　also　to　uncover　and　cynically　criticize　those　blacks　who　are　unconsciously　united　with　whites　to　discourage　and　defeat　other　blacks.　This　woman　is　scared　not　because　she　herself　is　asking　for　utter　freedom　and　equality　but　to　see　other　blacks　doing　so　as　this，　so　she　thinks，　is　going　to　stir　whites’　indignation　and　resentment　against　all　blacks.　She　thinks　that　Mrs.　Younger，　by　deciding　to　move，　harms　and　imperils　not　only　her　family　but　also　the　whole　black　community.　Hansberry　condemns　such　a　type　of　people　and　considers　them　agents　serving　whites　and　doing　blacks　more　harm　than　good.　Hansberry’s　view　is　that　these　people，　instead　of　scaring　and　frustrating　other　blacks　and　deferring　their　dreams，　should　have　encouraged　and　supported　them.　Had　they　done　so，　Hansberry　thinks，　blacks　might　have　succeeded　easier　and　earlier　in　the　USA　and　their　dreams　might　have　been　achieved.

Last　but　not　least　is　that　the　deferment　of　blacks’　dreams　sometimes　comes　from　within　the　family　members　themselves.　Sometimes　the　hindrance　results　from　the　members’　fears　to　support　one　another　and　some　other　times　from　having　conflicting　dreams.　The　shock　and　the　move　from　one　psychological　state　to　another　that　Ruth　and　her　husband　Walter　show　when　hearing　the　news　that　the　mother　has　bought　them　a　good　house　in　Clybourne　Park　indicate　this　view：

RUTH.　Where　is　it？

MAMA　（frightened　at　the　telling）.　Well

well　it’s　out　there　in　Clybourne Park

（Ruth’s　radiance　fades　away　abruptly，　and　Walter　finally　turns slowly　to　face　his　mother　with　incredulity　and　hostility）

RUTH.　Where？

MAMA　（matter-of-factly）.　Four　o　six　Clybourne　Street，　Clybourne　Park.

RUTH.　Clybourne　Park？　Mama，　there　ain’t　no　colored　people　living　in　Clybourne　Park.

MAMA　（almost　idiotically）.　Well，　I　guess　there’s　going　to　be　some　now.

WALTER　（bitterly）.　So　that’s　the　peace　and　comfort　you　went　out　and　bought　for　us　today！　（p.　451）

Most　telling　in　the　above　extract　are　the　stage　directions.　When　the　mother　is　asked　where　the　house　she　bought　is　located，　she　becomes　“frightened”.　This　elucidates　the　fact　that　Lena，　strong　and　determined　as　she　is，　cannot　resist　being　overwhelmed　by　terror.　However，　she　soon　curbs　such　a　feeling　once　she　remembers　the　sublimity　of　her　mission　and　the　importance　of　having　her　identity　affirmed　and　her　dream　achieved.　The　word　“frightened”　is　also　significant　in　that　it　refers　to　whites’　continuous　racism.　Hansberry　wants　to　say　that　racism　still　widely　exists　and　forbids　blacks　from　fulfilling　their　dreams.　She　also　wants　to　say　that　if　blacks　are　to　achieve　these　dreams，　they　have　to　confront　whites　even　if　they　are　going　to　get　terrified　at　the　beginning.　This　terror，　Hansberry　thinks，　will　vanish　in　time　and　blacks　will　manage　to　get　their　dreams　achieved.　If　they　are　to　let　themselves　be　controlled　by　terror，　they　will　continue　to　suffer　and　will　not　be　able　to　achieve　any　of　their　dreams.　That　is　why　Lena　never　surrenders　to　terror　and　threats.

As　for　Ruth，　she　is　taken　by　happiness　and　her　cheek　turns　red　when　she　knows　that　they　are　going　to　have　a　house　of　their　own　but　soon　this　happiness　and　“radiance”　fade　away　when　she　knows　that　the　house　is　located　in　a　white　neighborhood.　Her　sudden　change　from　one　extreme　to　the　other

ecstasy　to　terror　and　sadness

indicates　nothing　but　the　vast　impact　that　racism　have　upon　blacks　and　the　role　it　plays　in　the　long　deferment　of　their　dreams.　Notwithstanding，　Ruth　has　quickly　attended　to　Hansberry’s　instructions　as　she　soon　has　control　over　her　feelings　and　starts　to　support　Lena　heart　and　soul.