Objectives

• Analyse how Hansberry uses stage directions, dialogue and setting in Act I, Scene 1 to establish the Younger family's material and emotional conditions.
• Explain how the $10,000 insurance cheque functions as a dramatic device that exposes competing dreams and power dynamics within the family across Acts I and II.
• Examine how Beneatha's interactions with Asagai and George Murchison in Acts I–II dramatise the tension between assimilation and African identity.
• Evaluate how Hansberry constructs Karl Lindner's language in Act II, Scene 3 and Act III as a representation of systemic, polite racism.
• Write a sustained, evidenced analytical essay arguing how Hansberry presents the theme of deferred dreams across the play as a whole.

The sequence

1. Lesson 1: A Worn-Out Place: Setting, Stage Directions and the Weight of the Youngers' World (Act I, Scene 1)

   55 min · ch. 1

   Do now

   The opening stage direction in Act I, Scene 1, sets a tone of exhaustion and defeat in the Younger apartment, suggesting that the characters are worn down by their struggles. This atmosphere prepares the audience for a story filled with tension and the weight of unfulfilled dreams, making them acutely aware of the family's burdens before any dialogue begins. The word "weariness" stands out as it encapsulates the overarching mood of the scene.

   Teacher input

   Model a close reading of the opening stage direction in Act I, Scene 1 — focusing on the line 'Weariness has, in fact, won in this room' and the description of the furniture as having 'accommodated themselves to the living.' Highlight how the verb 'won' gives poverty a sense of victory and how 'accommodated' suggests a passive acceptance rather than a deliberate decision. Connect this to Langston Hughes's 'Harlem' and the concept of a dream that has already started to decay. Illustrate for students how this single stage direction encapsulates the play's central argument even before any character speaks.

   Independent task

   Students annotate the complete opening stage direction of Act I, Scene 1 (from 'Its furnishings are typical' to 'the sole natural light the family may enjoy') and then craft one focused analytical paragraph arguing how Hansberry employs the physical description of the apartment to highlight the Younger family's relationship with hope and defeat. The paragraph should include at least two quotations from the stage direction and incorporate one piece of contextual knowledge—either the Hughes poem or the historical context of Chicago's South Side housing covenants—to bolster the analysis. Students will submit their annotated extract along with the written paragraph.

   Exit ticket

   In one sentence, explain why Hansberry chose the word 'won' rather than 'prevailed' or 'settled' in the phrase 'weariness has, in fact, won in this room' — what does that specific word choice add to the meaning?

2. Lesson 2: Whose Money, Whose Dream? Power, Gender and the Insurance Cheque (Act I, Scene 1 – Act II, Scene 2)

   55 min · ch. 1, 2, 3, 4

   Do now

   Without looking at the text, jot down what each of the following characters intends to do with the $10,000 insurance check: Walter Lee, Lena, Beneatha, Ruth. Then, write one sentence explaining whose dream you think Hansberry portrays most sympathetically in Act I, Scene 1, and why.

   Teacher input

   Model a reading of the exchange between Walter Lee and Ruth near the end of Act I, Scene 1, starting with Walter's line, "Man say to his woman: I got me a dream," and concluding with Ruth's flat response, "Eat your eggs, Walter." This moment illustrates how Hansberry uses Ruth's short, imperative reply as a dramatic counterpoint to Walter's grandiose language. While Walter's words soar with ambition and hope, Ruth's focus on the simple act of eating eggs anchors his lofty dreams in the everyday reality they face. This exchange encapsulates the play's exploration of gender and power dynamics: Walter's aspirations are expressed openly, while Ruth's remain muted, manifesting instead in practical actions.

   Independent task

   Students re-read the scene in Act II, Scene 2 where Ruth confides in Mama about visiting a doctor regarding her pregnancy and mentions that she has "put down a five-dollar deposit" for an abortion. Following this, students are tasked with writing two analytical paragraphs. The first paragraph should explore how Hansberry uses Ruth's pregnancy and the abortion deposit to illustrate the impact of financial desperation on the women in the family. The second paragraph should analyze Lena's reaction—her initial silence and subsequent decision to make the house down payment—positioning Mama as a character who takes action when others merely talk. Each paragraph must contain at least two embedded quotations and should avoid using the word "shows." Students will submit both paragraphs.

   Exit ticket

   Write one sentence explaining the dramatic effect of Ruth saying 'I put down a five-dollar deposit' — why does Hansberry give Ruth this specific, small financial detail rather than having her simply announce the decision?

3. Lesson 3: Assimilation or Africa? Beneatha's Identity and Her Two Suitors (Act I, Scene 2 – Act II, Scene 1)

   55 min · ch. 2, 3

   Do now

   > Read Asagai's line to Beneatha in Act I, Scene 2: "You came up to me and said —"

   Teacher input

   Mr. Asagai — I really want to talk with you. About Africa. You see, Mr. Asagai, I'm searching for my identity!

   Independent task

   Beneatha's self-awareness is reflected in her understanding of her identity and aspirations, while Asagai's attitude toward her may indicate a mix of admiration and challenge as he encourages her to explore her true self.

   Exit ticket

   In one sentence, state which suitor — Asagai or George Murchison — Hansberry presents as the greater challenge to Beneatha's sense of self in Act II, Scene 1, and give one word from the text that supports your answer.

4. Lesson 4: Polite Racism: How Karl Lindner Speaks (Act II, Scene 3 and Act III)

   55 min · ch. 5, 6

   Do now

   Before opening the text, jot down three words or phrases you might expect a racist character in a 1959 American play to use. Then, when you get to Act II, Scene 3 and read Lindner's opening speech, circle any of your predicted words that show up — and underline any terms that catch you off guard with their politeness or reasonableness.

   Teacher input

   Model a close reading of Karl Lindner's speech in Act II, Scene 3, which starts with "I want you to believe me when I tell you that race prejudice simply doesn't enter into it" and concludes with "people can get awful worked up when they feel that their whole way of life and everything they've worked for is threatened." Explore how Hansberry reveals Lindner's racism through euphemisms and passive constructions—like "people can get worked up" and "it simply doesn't enter into it"—allowing him to discuss race without mentioning it directly. Analyze how the syntactic distance between the subject and prejudice reflects the social dynamics of systemic, deniable racism, making Lindner a more unsettling character than one who is openly hostile.

   Independent task

   Students will re-read Lindner's second visit in Act III, starting from his entrance and continuing through Walter Lee's speech that begins with 'We called you here because, well, me and my family' until Lindner exits. They will write three analytical paragraphs: the first will focus on Lindner's use of reasonable language and euphemism; the second will explore how Walter Lee's speech to Lindner—given in front of Travis—uses the repetition of 'come from' to emphasize the family's history and dignity; the third will evaluate what Hansberry conveys about racism in America by juxtaposing these two speeches. Each paragraph must include at least two embedded quotations and identify a specific language or structural technique by name. Students will submit all three paragraphs.

   Exit ticket

   Write one full sentence explaining why Hansberry has Walter Lee deliver his refusal speech to Lindner with Travis standing beside him — what does Travis's physical presence add to the meaning of the moment that Walter Lee's words alone could not achieve?

5. Lesson 5: What Happens to a Dream Deferred? Writing a Sustained Argument Across the Whole Play

   60 min · ch. 1, 2, 3, 4, 5, 6

   Do now

   • Symbol of Hope: The plant represents Lena's dreams and aspirations for a better life, which she nurtured despite difficult circumstances.

   Quotation: "I want to put some flowers in that window."

   • Connection to Home: The plant signifies her connection to the apartment and the life she built there, reflecting her love for her family and their struggles.

   Quotation: "It’s all I got left of my family."

   • Finality of Departure: Lena taking the plant as she leaves symbolizes the end of an era and her willingness to move forward, carrying her memories with her.

   Quotation: "I’m going to make a life for myself."

   Teacher input

   Model how to construct a multi-act argument using the plant as a central theme: in Act I, Scene 1, Mama cares for the plant in the only window that receives light, stating, "It expresses ME"; in Act II, Scene 3, she imagines placing it in the window of their new house; in Act III, she almost leaves it behind but ultimately returns for it. Show how to craft an opening paragraph that identifies Hansberry's technique (the symbolic object serving as a structural device), presents a strong argument (the plant symbolizes the endurance of hope amidst material and racial challenges), and outlines the essay's organization — this is the essential approach students should emulate in their own introductions.

   Independent task

   Write a comprehensive analytical essay of 600–800 words addressing the question: 'How does Hansberry use the motif of the deferred dream to structure A Raisin in the Sun as a whole?' Your essay should: begin with a clear thesis in your opening paragraph that identifies Hansberry's dramatic approach; include a paragraph discussing Walter Lee's dream of owning a liquor store and its downfall in Act III, incorporating at least one quotation from his conversation with Bobo ('That money is made out of my father's flesh'); include a paragraph on Beneatha's aspiration to attend medical school and Asagai's challenge to this ambition in Act I, Scene 2 and Act III, using at least one quotation from Asagai's remarks about idealists ('They are the only ones who are never disillusioned'); incorporate a paragraph on Lena's dream related to her plant and house, referencing the final stage direction of Act III; and conclude with a paragraph linking the play's conclusion to the Langston Hughes poem cited in the epigraph, discussing whether Hansberry resolves Hughes's question or intentionally leaves it unanswered. Avoid using the term 'shows.' Please submit your essay by the end of the lesson.

   Exit ticket

   Looking back at the essay you have just written, identify the single paragraph you consider your strongest and write one sentence explaining precisely what analytical move you made in that paragraph that you want to carry into your next piece of writing.

Activities

Assessment

• Lesson 1 exit ticket: student can name a specific word choice from the opening stage direction and explain its connotative effect — marker looks for precision about 'won' or equivalent, not paraphrase.
• Lesson 2 annotated paragraphs: marker checks that Ruth's abortion deposit and Lena's down payment are read as parallel financial acts carrying different dramatic weight — not merely summarised.
• Lesson 3 Asagai/Murchison debate paragraph: marker looks for a clear claim about Hansberry's own sympathies supported by a quotation, not a balanced 'on the one hand' non-answer.
• Lesson 4 three-paragraph response: marker checks that Lindner's euphemism is named as a technique and that Walter Lee's 'come from' repetition is identified as anaphora or structural repetition — not described as 'emotional.'
• Lesson 5 do-now bullet points on the plant: marker looks for three distinct symbolic readings, each anchored to a specific quotation from a different chapter — this previews the essay's range of reference.

Standards covered

Common Core 11 12

• RL.11-12.1 — Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text.
• RL.11-12.3 — Analyse the impact of the author's choices regarding how to develop and relate elements of a story or drama, including where a story is set and how the action is ordered.
• RL.11-12.4 — Determine the meaning of words and phrases as they are used in the text, including figurative and connotative meanings; analyse the impact of specific word choices on meaning and tone.
• RL.11-12.5 — Analyse how an author's choices concerning how to structure specific parts of a text contribute to its overall structure and meaning.
• W.11-12.1 — Write arguments to support claims in an analysis of substantive topics or texts, using valid reasoning and relevant and sufficient evidence.

AP Literature

• Literary Argumentation — Defend a thesis about a literary text using well-chosen evidence and commentary that explains how the evidence supports the claim.
• Figurative Language — Identify and analyse the function of metaphor, symbol and imagery in Hansberry's stage directions and dialogue.
• Character — Analyse how Hansberry develops Walter Lee, Lena and Beneatha as complex characters whose desires are in tension.
• Structure — Evaluate how Hansberry's three-act structure and the insurance cheque as inciting device shape the play's dramatic arc.
• Contextual Connections — Connect the play's themes of housing segregation and the American Dream to its 1959 historical context.

AQA

• AO1 — Articulate informed, personal and creative responses to literary texts, using associated concepts and terminology, and coherent, accurate written expression.
• AO2 — Analyse ways in which meanings are shaped in literary texts, including Hansberry's use of stage directions, dialogue and dramatic structure.
• AO3 — Demonstrate understanding of the significance and influence of the contexts in which literary texts are written and received, including the Civil Rights Movement and Chicago housing segregation.
• AO4 — Explore connections across literary texts, including the relationship between A Raisin in the Sun and Langston Hughes's poem 'Harlem.'

Edexcel

• AO1 — Articulate informed, personal and creative responses to literary texts using associated concepts and terminology and coherent written expression.
• AO2 — Analyse ways in which meanings are shaped in Hansberry's dramatic language, form and structure.
• AO3 — Demonstrate understanding of the significance of cultural and contextual factors in the writing and reception of A Raisin in the Sun, including Hansberry v. Lee and the Broadway premiere of 1959.
• AO5 — Demonstrate understanding of the relationship between texts and the literary tradition, connecting the play to the American Dream narrative and the Harlem Renaissance.

IB Lit

• Readers, Writers and Texts — Analyse how Hansberry's choices of dramatic form, setting and language construct meaning for different audiences.
• Time and Space — Evaluate how the historical context of 1950s Chicago and the Civil Rights Movement shapes the play's concerns and its reception.
• Intertextuality — Explore the relationship between A Raisin in the Sun and Langston Hughes's 'Harlem' as an explicit intertextual frame for the play's argument.