Williams effectively portrays the male perspective of authority and superiority during the 1940s through the arrogant remarks of a man who believes himself to be "the king around here." Stanley's rhetorical question that mocks the sisters as a "pair of queens" devalues the women from being at his same level and packs a punch that shocks women in today's society.
Your sample is fluent and focuses on the effects Williams creates. It also provides a personal approach through both your wording and your insight. Well done! Keep this up! :o)
Tennessee Williams - a skilled playwright who manages to craft a character who is both manipulative and fragile, wise and naïve, refined and tainted. Truly, his portrayal of Blanche does not typecast her as a one-dimensional siren. Instead, he depicts her as a woman teetering between the worlds of paradise and ruin. Williams's character has no greater moment of clarity than when she relates her own aphorism: “a woman's charm is fifty per cent illusion." A brief declaration, it is Williams’s masterful way of delivering the vixen’s greatest confession. For Blanche, reality is not enough to tip the scales towards Eden.
The playwright foreshadows the eventual disclosure that Blanche had an affair with one of her students when she kisses the young delivery boy and says “I've got to be good — and keep my hands off children.” Such statement allows for the audience to realize that her possible mental instability and immorality are results of the guilt of her young husband’s death. Due to this trauma, her life has become a downward spiral, which culminates in being sent to an asylum.
After Stanley's violent reaction towards Stella, Williams reveals how blind and submissive she is to her husband when she justifies that "he didn't know what he was doing." Consequently, Williams proves to the audience that Stella is naïve and innocent for she believes he is "good as a lamb" and incapable of intentionally hurting her.
The audience is given insight through the dialog, “the searchlight which had been turned on the world was turned off again and never for one moment since has there been any light that’s stronger than this — kitchen — candle.” This dialog gives perception on how Blanche has been living in a state of illusion ever since her husband died. The searchlight is symbolism for her true self and she has never shown her true self to anyone, but only a small candle light of it after Blanche’s husband’s death.
Williams's purposeful incorporation of a sexually provocative dialogue between Blanche and an enigmatic, impressionable adolescent reminiscent of the prince from the ubiquitous literary masterpiece Arabian Nights, provides an insightful glimpse of her unstable state of mind. As Blanche bids farewell to the young--hurrying him to "run along... quickly!"--Williams presents a rationalization of her dismissiveness by claiming that "[she has] to be good--and keep [her] hands off children. The portrayal of these actions depicts Blanche's debauched lifestyle as being the polar opposite of that of a freshly-picked daisy.
“But you are the one that abandoned Belle Reve, not I! I stayed and fought for it, bled for it, almost died for it!”
Williams displays Blanche and Stella’s hysteric encounter through exclaiming how Blanche “bled for it” and almost “died for it” as they spoke about Belle Reve, this exaggeration leaves the audience with a better understanding of Blanche’s struggle’s in Belle Reve
Williams expresses Blanche as a demandful woman as she states to her sister Stella " I want to near you.. Be with somebody..., I can't be alone!" In order to show how Blanche is an attention seeker, Tennessee Williams provides them audience with a visual representation on how she pleads for her sister's attention.
When William’s introduces Stanley, the writer clearly intends for him to act as a foil to Blanche- a domineering, misogynistic brute who flawlessly sees through her façade. The playwright even has Stella inform Blanche early on that Stanley is a "Polack." He is presented as the antithesis to Blanche, a fact which several characters acknowledge throughout the course of the play, much to Stanley's rapidly increasing ire. His fury is portrayed as coming to a head during Blanche's birthday dinner, as he rages that "[he is] the king," and will not stand for Blanche and Stella's degradation of him.
When blanche says, “ I have always depended on the kindness of strangers.” Williams, reveals that blanche is a women who has been ever dependent upon others. Given the trauma of losing her young husband and her affair with the young student as well as failed romances with countless men. She has sentenced herself to life long imprisonment behind the bars of the patriotic prison, because she herself has made her role dependent upon a male figure, and even still in the end, she gives herself over to a guy, which the readers later on discover, represents the insane asylum.
Williams includes Blanche’s concerned remark, “I can’t stand a naked light bulb” to illustrate how sensitive Blanche is to not only the light, but to the truth which that light symbolizes. The playwright does this to reveal to the audience that Blanche does not want people to know her past and that the closer she goes to the light, the closer one is to finding out the truth of her late young husband killing himself due to his sexuality, her risky encounters with men, and her sexual desire to be with younger men.
When Williams includes Mitch's outburst of no longer wanting a relationship with Blanche due to the her not being "clean enough" to marry, the playwright both reproves and criticizes the perception of women's sexuality circa 1947. Williams showcases this through Mitch by having his disillusionment with Blanche as both a potential partner and as a respectable woman be based solely on his knowledge of her alleged promiscuous past.
Williams employs proper nouns as symbols throughout scene 1 by referring to "Desire," "Cemeteries," and "Elysian Fields." This trip Blanche takes symbolizes the personal journey that Blanche has gone through over the years. The streetcars name Desire and Cemeteries metaphorically symbolize the sexual and marital desires that have led her to her own demise. The eventual arrival to Elysian Fields then symbolizes Blanche's after life where she will ultimately reflect and learn from her past.
Williams's presentation of Blanche as a woman who presents herself as "prim and proper" servers and soctal criticism of women's expectations to be wives and mothers. Even though Ms. Dubois has her fair share of secrets and she plays the role of the pure flower when trying to reel in a man, such as Mitch who is clueless to her ploy. Williams utilizes Blache's ploy in order to display the ideal role that women must fufil, if they fail to appear pure the women no longer seem desirable to men and will forever live in solitude.
Williams establishes symbolism by employing names with purposeful double meanings to how Blanche arrives to New Orleans. "They told [Blanche] to take a streetcar named desire," then one called "cemeteries" and arrive at "Elysian Fields." The streetcars Ms.Dubois took symbolizes how due to her allowing her desire of luring men in with intercourse to take over her, she completely destroyed her future and set herself up for her own death. When she arrives at "Elysian Fields" it represents the end of her damaging Journey and it implies that Blanche finally obtained closure.
Williams' widowed character, Blanche, expressed that she enjoys the dark because it is "comforting" to her. The quote is symbolic in the sense Blanche wants to escape the sorrow of her young husband's suicide.
Williams's character Stanley treats Blanche heartlessly when he goes to rape her and says, "We've had this date with each other's from the beginning!" It references Blanche's flirting with him at the onset of the pleat, and now all he was doing was treating her according to her prostitute reputation. With this, Williams successfully exposes the controlling aspect of the patriarchal system in this time period.
Williams evokes a feeling of worry from his audience as the hated protagonist, Stanley, claims Blanche's future is "mapped out" for her. In doing so, the playwright further characterizes Mr. Kowalski as a dominant male figure who will manipulate any situation to his liking.
In A Streetcar Named Desire, playwright Tennessee Williams portrays Blanche as a typical southern belle, with her fine cloths and high born attitude. This southern belle soon becomes one of Williams characters, Stanley’s nightmare. With her need to be “near” Stella because “[she] can’t be alone.” Appearing out of the blue on the Kowalski’s front porch, Blanche quickly leans on her sister’s shoulder, because of her horrid past.
Williams not only shows Blanche’s fear of being exposed through explicit stage directions, but also through her own admission. Blanche declares “I can't stand a naked light bulb, any more than I can… a vulgar action,” which supports the central idea that Blanche prefers illusion over reality, keeping herself in the shadows with her make-believe stories from her past. The naked light bulb is representative of the truth from her past—a past full of deception, regret, guilt and pain. This past haunts her, her young husband having died at such a young age and her mechanism of coping with the pain consisting of short affairs with younger men.
Williams portrays Blanche as someone "[who] can't stand a naked light bulb," in order to present her as a self-conscious woman who hides her imperfections so that she may manipulate a man into marrying her.
Williams characterizes Blanche as a damsel in distress in order to conceal her promiscuity. Nonetheless, her facade is shattered upon Mitch's realization that Blanche is not "clean enough to bring in the house with [his] mother." Through this, the playwright displays 1940's societal expectations of women to be pure wives and caregivers.
Williams introduces Stanley as a dominant figure when he bellows, "[Blanche's] future is mapped out for her." This serves as foreshadowing, for the audience knows that Mr. Kowalski, the character meant to represent the male dominance typical of this era, is certain to be Blanche's "executioner."
Williams builds Blanche's character as a damaged woman who "fought..., bled..., almost died for" her family's plantation. Through this, the playwright establishes that Blanche pities herself so everyone she speaks to gives her what she desires. This manipulative characteristic reflects what most woman acquire to claim dominance over men.
Williams makes the audience realize that Blanche "wants to be near [Stella]...has to be near somebody...can't be alone" because of untold losses that have left her a depressed, lonely widow.
Williams forebodes Blanche's inevitable death when his directions indicate "desire" will lead her to "cemeteries." In this case, "desire" represents Blanche's promiscuous lust after the loss of her "young husband." "Belle Reve," the lost plantation riddled with dead family members is similarly symbolized by "cemeteries."
Williams portrays Blanche’s character with a façade that shields her true personality and weaknesses. “I don’t want realism, I want magic! Yes, yes, magic. I try to give that to people. I do misrepresent things. I don’t tell truths. I tell what ought to be truth. And if that is sinful, then let me be damned for it!” is a perfect representation of what Williams intends for Blanche’s character to be interpreted as; she is the type of individual that prefers the fantasy over the real. Williams implies that Blanche relies on her Southern Belle façade in order to cope with her shortcomings.
Blanche's character argues that "a girl alone in the world, has got to keep a firm hold on her emotions or she'll be lost" which defines Blanche's presentation to the audience in a new light. Rather than being seen as a woman of purity and innocence, the audience captures a glimpse of her true self - a torn, broken girl with regretful actions.
Williams portrays Blanche's desperation to attain her sister's sympathy in the form of epiphora. They way in which Blanche "fought for [Belle Reeve], bled for it, and almost died for it", demonstrates the kind of pain and dedication she took into tending to what her sister left to her, mainly nothing but blood, work, and tears.
Playwright William effectively portrays Stanley as a male dominant figure whose intentions is to lower everyone's status, especially that of women. Stanley's character comments that the ''Napoleonic code'' states ''what belongs to the wife belongs to...husband and vice versa.'' This statement, as said in Stanley's words, exemplifies the code is for the husbands and not the wives, when in fact is meant for both, the married couple. This shows Stanley's personality as an egocentric leader
Williams builds Blanche's mental instability by applying symbolism through her assertion, "I can't stand a naked light bulb, any more than I can a rude remark or a vulgar action." The playwrite uses light to symbolize her fear of others' knowledge about the truth concerning the death of her, "young husband."
Wiliams alludes to "How Do I Love Thee?" in his play by including a line from the poem "And if God choose, I shall love thee better after death". In this way he foreshadows that there will be hope for a passion-filled love between Mitch and Blanche, two people who share the grief of losing a loved one.
Williams reveals Blanche's fear of Stanley in her admission that Mr. Kowolski will be her ëxecutioner". Stanley represents a veteran soldier that is coming back from war with his mentality as the woman should go back to domestic affairs while remaining dominant. With this, Stanley remains at the top while Blanche dwindles below to the prisoner of war.
Williams implements the use of “light” and “dark” to demonstrate Blanche’s mental instability and fear of reality. The use of lighting in the play is used in order to expose how Blanche uses the dark to escape to an unrealistic world in her mind of perfect and pure, and the light as an exposure of all her wrongdoings, her loose past, and guiltiness of the death of her young husband she has kept hidden from the world.
During the game of poker, by having the character, Mitch, make a sexist comment that the game “shouldn’t be played in a house with women,” Williams gives the viewers a sense of the dichotomous gender expectations of 1940s America.
William's input of the "naked light bulb" serves as a comparison to Blanche who wants her secrets and imperfections to stay hidden. She is afraid her troubling past will be revealed and Mitch will realize she isn't as pure and innocent as she appears to be.
Williams presentation of Blanche as a women who "doesn't want realism but magic" reveals to the audience that her reality is a nightmare from her sinful past.Williams also emphasizes the societal norms that were expected from women during the 1940s through Blanche refined and modest personality. The playwright Williams also criticizes the pressure society put on women through Blanche hidden personality for instance, in the play Blanche forbids her true personality to be revealed in the eyes of society. To conclude, Tennessee Williams main point was to emphasize that women during the 1940s had to display an image of perfection to society when their true selves were full of flaws and harsh backgrounds just like Blanche.
When Blanche takes a “streetcar named desire and transfer[s] to one called cemeteries” Williams foreshadows the falling apart of her façade. This reveals the tainted past haunts her and provides a glimpse into her demise in the mental institution. Similarly the street car named cemetery represents her trying to bury her troubled actions from before as if it was a cemetery
Williams exhibits Blanche’s predisposition towards lust when she “take[s] a street-car named Desire” and “get[s] off at-Elysian Fields, “thus representing the illusion she maintains while exploring her sexuality and exposing women’s carnal appetite in a time period when their fantasies were deemed taboo.
"The first time I Laid eyes on him I thought to myself, that man is my executioner!" -Blanche scene 6
Tennessee Williams creates and obscure representation of Blanche and Stanley's relationship throughout scene 6, when Blanche refers to Stanley as her "executioner". This also foreshadows the remainder of the play as the conflicts rise between these colliding characters to the extent of Blanche submissively being taken away to a mental institution, in other words for a woman in the 1950's her death.
Williams utilizes alcohol as a symbol of escape throughout A Streetcar Named Desire. When Blanch claims she, “rarely touches [liquor],” the playwright establishes a façade that most characters believe, with the exception of Mr. Kowalski. Stanley is not fooled by Miss Dubois’ mischievous ways. Tennessee Williams establishes Stanley’s dominance-seeking personality by having him confront his sister-in-law in her lies- lies she attempts to hide in a bottle of alcohol when no one is watching.
When Williams voices Blanche's ideals that "a woman's charm is fifty percent illusion," the audience is given a glimpse of Miss Dubois's true character, a woman whose life is founded on fantasy rather than reality.
In scene five, Blanche seduces the "young lad" with a smooch. Indicating, that Blanche "can't keep her hands off" exposing Miss Dubois's sexual fantasies toward young boys, creating a post somatic trauma of Blanche's young husband's death.
The theme of social class is portrayed by Williams's description of Stella as being "pulled off the columns" by Stanley. Stella rebels against her aristocratic ancestry for sex, defying social norms and placing her inferior to Stanley. This further develops Stella and Stanley's relationship, which the audience interprets as merely a sexual exchange.
Blanche expresses her first impression of Stanley as her “executioner” to her current lover Mitch. Through this, Williams makes the fear Miss Dubois feels in response to her hangman, Stanley, tangible to the audience.
The playwright's assertion that Stanley follows the "Napoleonic Code" establishes him as a mysognistic male. In doing so, William, juxtaposes Stanley to Blanche, for he, too is looking out for his wallet.
When Williams situates Blanche as the woman who knows men so well that she knows "Men lose intrest quickly" he reveals a contradictory quality in Blanche's virtuous persona. William instills doubt and curiosity in the audience to show them how Blanche bluntly uses her bag of tricks to sway a possible suitor.
Tennessee Williams characterizes Blanche as a person who needs to depend on others. He exposes this in scene one when Blanche tells Stella "I want to be near you, got to be with somebody, I can't be alone!"
In scene 9 Williams reveals Blanche's hopes to marry Mitch with the lines " You said you needed somebody. Well i need someone too". This line shows how genuine Blanche's feelings toward Mitch, and how she wishes to spend the rest of her life with him married.
Stanley blatantly disregards Blanche's coquetry as Williams includes, "I never met a dame yet didn't know she was good looking" when Blanche tries to fish for a compliment which further emphasizes Stanley's aggrieved attitude towards Blanche's manipulative actions.
Williams describes "love-letters" as "yellow" to reveal to the audience that Blanche is both regretful and sorrowful about her "young husband." The playwright uses color connotation to expose character Blanche's secrets and provide reasoning for her way of being throughout the novel. Her perfect disguise is shattered as the old letters prove how her actions are not as "proper" as she portrays herself.
The playwright’s clever word choice coherently depicts Blanche’s downward-spiraling sanity through her realization that Stanley will be her “executioner” in which he is referencing when Stanley “executed” her mental health. In this way, William not only establishes Stanley’s dominant character but foreshadows he will violate her and will ultimately, ship her off to an asylum. His utter control of all the characters’ lives, including Blanche’s, embodies the male superiority of typical 1940’s America.
Through Blanche's declaration, "the searchlight ... was turned off again and never ... has there been any light that's stronger than this - kitchen- candle." Williams strengthens the realization of Blanche’s struggle to live in a state of illusion ever since her husband’s death. Through this, Williams utilizes the search light as a representation of her ability to be truthful and have a genuine relationship with Mitch because of her constant effort to misrepresent herself to him.
A Streetcar Named Desire was written during a time when men and women had vastly different societal roles than current times. The writer analyzes this by diving into Stanley and Stella’s relationship. When Stanley refers to Stella as “my baby doll,” he is not only demonstrating his possessiveness of Stella and his dominance of the household, but also reveals his aggressiveness because Stanley called for her after he abused Stella. The writer utilizes this to compare Stanley’s dominance of the household to men’s superior role in a 1940’s society.
As Mitch proceeds to hand Blanche a cigarette case with a rather interesting inscription citing Elizabeth Barrett Browning in her poem, “How Do I Love Thee?” – “and, if God choose, I shall but love thee better after death” – he remarks it was a girl, now dead, who gifted the case. This specific excerpt in the play connects both narratives of sorrow and loss of the interacting characters, providing the audience with a glimpse of the mournful and vulnerable emotional similarities of both personalities, which will, furthermore, have a profound effect as the story unfolds.
Williams presents Stanley as a dominant figure whose sole interest is to posses Stella and "what belongs to [her]". The playwright educated the audience on the Napoleonic Code in order to display Stanley's profitable interest in Belle Reve.
- William’s description of Blanche’s inner feelings covey her emotional state towards the significance of the kitchen candle, which has been the strongest light she has had and felt since her husband committed suicide. The audience can instantly sense that within seconds her world must have been flipped upside down like an hourglass, where her whole entire life fell through a hole in time and it was unstoppable.
1. Tennesse Williams brings the Kowalskis’ marriage into question Stella declares,” [Blanche] … takes it for granted that [Stella is] in something that [She] want[s] to get out of.” By saying that, the playwright strengthens that Stella is afraid of her abusive husband. The playwright makes Stanley a dominant figure while taking the power out of others like Stella.
Williams emphasizes that image and reputation are vital to Blanche with her expression, "men don't want anything they get too easy... men lose interest quickly;" implies that she is trying to keep up that facade that she is pure because Mitch might lose interest in her if she gives herself to him too quickly.
Throughout the playwright, Williams shows that Stella is deeply in love with Stanley when she confesses "Stanley's the only one of his crowd that's likely to get anywhere." Williams does this to show the readers that Stella is madly in love with Stanley, it also illustrates that Stella is blinded by the love she has toward Stanley and obviously does not have much knowledge about Stanley.
After Williams has Blanche sneakily drink some alcohol and later lie about it to Stanley by saying "No, I-rarely touch it," the playwrite implies that behind Blanche's seemingly innocent and pure character is a morally tainted woman.