a streetcar named desire compare and contrast essay

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Analysis of Tennessee Williams’s A Streetcar Named Desire

By NASRULLAH MAMBROL on October 13, 2020 • ( 0 )

Tennessee Williams ‘s (March 26, 1911 – February 25, 1983) A Streetcar Named Desire (1947), is generally regarded as his best. Initial reaction was mixed, but there would be little argument now that it is one of the most powerful plays in the modern theater. Like The Glass Menagerie , it concerns, primarily, a man and two women and a “gentleman caller.” As in The Glass Menagerie , one of the women is very much aware of the contrast between the present and her southern-aristocratic past; one woman (Stella) is practical if not always adequately aware, while the other (Blanche) lives partly in a dream world and teeters on the brink of psychosis; the gentleman caller could perhaps save the latter were circumstances somewhat different; and the play’s single set is a slum apartment. It is located in Elysian Fields, a section of the French Quarter of New Orleans. The action takes place in the downstairs two-room apartment rented by the Kowalskis.

a streetcar named desire compare and contrast essay

Marlon Brando and Kim Hunter in the 1951 adaptation of A Streetcar Named Desire

Stella Kowalski relaxes in a shabby armchair in the bedroom of the small apartment. She eats chocolates and reads a movie magazine. Stella’s husband, Stanley Kowalski, enters, carrying a package of meat dripping with blood and yelling for his wife. Stanley tosses the meat to Stella, who catches it in a surprised reaction. Stanley leaves to go bowling with his friends, and Stella decides to tag along. She hurriedly primps in the living room mirror, quickly closes the apartment door behind her, and says hello to Eunice Hubbell and a Negro Woman who are sitting on the landing. As she exits, the two women laugh about Stanley’s lack of manners.

Blanche DuBois enters. She is carrying a small suitcase and a piece of paper. She is a fading Southern belle, whose appearance suggests she is going to a garden party, but her search for her sister, Stella, has landed her in the slums of the French Quarter. Eunice notices the confused Blanche, and she asks whether she is lost. Blanche explains that she was instructed to take a streetcar named Desire to Elysian Fields via a streetcar called Cemetery. Eunice informs her that she is indeed in the right place. Eunice lets her into the Kowalskis’ apartment to wait for Stella while the Negro Woman fetches Stella from the bowling alley. Blanche has arrived unannounced, and she is shocked to discover Stella living in such a dismal place.

Blanche searches for a drink, and Stella enters. The two sisters are ecstatic to be reunited. Blanche speaks excitedly, overwhelming Stella with criticism of the apartment. Stella is speechless and hurt by these remarks, and she notices that Blanche is shaking and anxious. Stella is concerned by her sister’s behavior, and she attempts to calm her nerves by offering her a drink. Blanche urges Stella to explain why she is living in such depressing conditions. Blanche says she has taken a leave of absence from her high school teaching job. She says that she is having a difficult time and needed a break. Blanche mentions the weight Stella has gained, and she compliments her on her appearance; however, Stella knows that her sister is being critical. Blanche demands that Stella stand so she can fully analyze the size of her hips, her less than perfect haircut. She asks Stella about having a maid, but the Kowalskis’ apartment only consists of two rooms. Blanche is horrified by this news. She pours another drink to curb her intolerance of the place. Blanche has been lonely; she feels her sister abandoned her when she left Mississippi and their father died. Blanche admits that she is not well. Stella insists that her sister stay at the apartment, and she directs her to a folding bed. She insists that Stanley will not mind the lack of privacy, as he is Polish. Stella advises her sister that Stanley is unlike the Southern gentlemen they knew back in Laurel, Mississippi. She confesses he is ill mannered, but she is madly in love with him.

Blanche confesses that she has lost Belle Reve, the family plantation. Blanche expresses her resentment of her sister because she was “in bed with [her] Polack” while Blanche scraped and clawed to hold on to Belle Reve. Stella is very upset to know that they have lost their homestead. Blanche bitterly blames the foreclosure on the many deaths in the family. Blanche is plagued with guilt, as well as being hopelessly adrift, and she projects her feelings of loss onto Stella, who runs into the bathroom to escape her sister’s wrath.

Stanley returns home. He shouts to his friends, Steve Hubbell and Mitch (Harold Mitchell), from the stairwell. Blanche speaks to him before he notices her presence. Stanley is cordial to her and asks for Stella, who has locked herself away in the bathroom. He offers Blanche another shot of whiskey, noticing that the bottle has already been sampled. Blanche declines the offer, stating that she rarely drinks. Her obvious dishonesty spurs Stanley to ask some very personal questions regarding her past, namely, about her husband. He sheds his sweaty shirt to find relief in the summer heat and welcomes her to stay with them. Upset by his meddlesome inquiries, Blanche replies that her young husband is dead. She grows nauseous discussing this subject and has to sit down to regain her composure.

Around six o’clock the following evening, Blanche and Stella plan to have dinner out and see a movie while Stanley and his friends have a poker night in the apartment. While Blanche readies herself in the bathroom, Stella tells Stanley that Belle Reve has been lost. She also warns him not to mention that she is pregnant because Blanche is already so unstable. Stanley is most concerned with the loss of the estate. He suspects Blanche sold the plantation and kept all of the profits for herself. Referring to the Napoleonic Code, Stanley wants to know whether he has been swindled. To find proof of the foreclosure he rummages through Blanche’s trunk. Appraising the furs and jewelry she has, he urges Stella to acknowledge that Blanche has deceived her. Stella fears the looming confrontation, so she escapes to the porch.

When Blanche emerges from her hot bath and realizes that Stella is not around, she flirts with Stanley as a means of winning him over; however, he is interested only in the profits from Belle Reve. When Stanley accuses Blanche of selling the plantation and keeping all of the money, she insists that she has never cheated anyone in her life. She says, “I know I fib a good deal. After all, a woman’s charm is fifty percent illusion, but when a thing is important, I tell the truth.” Stanley rifles through the trunk again, searching for documents that will prove Blanche is lying. Stanley discovers yellowing letters held together by aging ribbons, and he withholds these visibly precious items until she pulls two manila envelopes from her belongings. Blanche says that his touch has contaminated her cherished love letters. She tells Stanley that this paperwork is all that is left of the plantation, and he continues berating her by demanding to know how she could allow the foreclosure to happen. Blanche recoils with anger and retorts that the plantation has been lost by generations of negligent men who “exchanged the land for their epic fornications.” Stanley intends to have the documents read by a lawyer friend, and Blanche invites him to do so. Now that Stanley has been proved wrong, he justifies his concern with the fact that Stella is pregnant. This is a happy digression for Blanche, who is genuinely excited by this information. When Stella returns, Blanche expresses her joy about the baby. She brags that she handled Stanley and even flirted with him. The two sisters leave as Stanley’s friends arrive for their poker night.

Later that night in the Kowalski apartment, Stanley and his friends are still drinking and playing cards. Stella and Blanche return at 2:30 A.M., and Stanley asks them to visit Eunice until the game is over. When Stella does not comply, Stanley slaps her backside as a means of countering her disobedience in front of his friends. Blanche is intrigued by Mitch, who is uninterested in the poker game because he is worried about his ailing mother. Blanche is immediately attracted to his sensitivity. The two introduce themselves. Mitch offers her a cigarette, showing her the inscription on his cigarette case. She immediately recognizes it as the poetry of Elizabeth Barrett Browning. Mitch explains the case is from a former girlfriend who died. Mitch’s story of his former lover resonates with Blanche’s own sense of loss of her young husband, Allan Grey. She tells Mitch, “Sorrow makes for sincerity,” and continues, “Show me a person that hasn’t known sorrow and I’ll show you a superficial person.” She asks Mitch to cover the naked lightbulb with a Chinese lantern she recently purchased.

Stanley grows more inebriated and increasingly irritated by the music Blanche is playing. He crosses the room, rips the radio from the wall, and throws it out of the window. He hits Stella when she tries to stop him. Humiliated and stunned, Stella runs into the kitchen area and orders Stanley’s friends to leave. Stanley chases and attacks Stella. Blanche begs Mitch to stop him, and the men restrain Stanley on the sofa. Blanche whisks Stella to Eunice’s apartment upstairs while the men attempt to sober Stanley. After a cold shower, he stumbles out of the bathroom, goes out onto the porch, and yells up to Stella. He continues to shout for Stella, who descends the stairs and returns to him. Stanley falls to his knees, pressing his head against her legs. Kissing passionately, the couple retreat to their bedroom. Blanche runs down after Stella. When she discovers them making love, she is angered by her sister’s weakness. Mitch calls out to Blanche. They share another cigarette. Blanche is thankful for Mitch’s kindness.

Early the next morning, Blanche returns to the Kowalski apartment after spending the night at Eunice and Steve’s apartment. When she realizes Stella is alone, she hugs her with nervous concern. Stella, on the other hand, is cheerful and content. Stella blames liquor and poker for Stanley’s behavior. She explains to her sister that she gets a thrill from her husband’s extreme actions. Blanche is infuriated. She says Stella has married a “madman.” While Blanche devises an escape plan for them, Stella tidies the apartment. Stella says she is happy with Stanley. Blanche is still bewildered by Stella’s cool resignation.

Blanche remembers an old beau, Shep Huntleigh, whom she plans to call on for their escape, but Stella does not want to be rescued. Blanche compares Stanley to an ape. During this conversation, Stanley has returned unnoticed. He has heard everything that has been said. All of Blanche’s persuading has been in vain: When Stella sees Stanley, she runs over and jumps into his arms.

Blanche has been living at the Kowalskis’ apartment for three months. While she finishes writing a letter to Shep about imaginary cocktail parties she has been attending, Stanley enters. He slams drawers and creates noise to express his irritation by Blanche’s presence. To provoke Stanley, she asks him his astrological sign. He remarks that he is a Capricorn (the goat) and Blanche replies she is Virgo, the sign of the virgin. Stanley laughs and asks her about a man by the last name of Shaw who claims to have spent an evening with Blanche at the Flamingo Hotel. Blanche adamantly denies this accusation, but her face registers panic and alarm. Stanley is victorious and exits to go bowling.

Analysis of Tennessee Williams’s The Glass Menagerie

Blanche becomes hysterical. She asks Stella whether she has heard rumors about her, but Stella gracefully denounces gossip. Blanche confesses that she did not maintain a good reputation when she was losing Belle Reve. She admits her fears of being a “soft” person, of needing people too much, and of her fading beauty. Blanche fears she will not be able to “turn the trick” much longer because she is visibly aging. She also confesses that she lied about her age to Mitch because she wants him to fall in love with her. Blanche has presented an illusion of herself as a prim and proper woman to Mitch. Stella is accustomed to Blanche’s nervous tirades, and she pays little attention to what her sister is actually saying. Stella comforts her by pouring her a drink. A young boy stops by the apartment selling newspapers. On his way out, Blanche calls him back inside and kisses him. Blanche chastises herself for putting “her hands” on the boy. He leaves and Mitch arrives with a bouquet of roses for her.

Later that night, Blanche and Mitch return from a disappointing date. Blanche blames herself for the dull evening. Mitch asks whether he may kiss her good night, and she consents but says their actions can go no further because she is a single woman. Stanley and Stella are not home, so Blanche invites Mitch in for a nightcap. Blanche plays the coquette while Mitch perspires with desire for her. While she searches for a bottle of whiskey, Blanche asks Mitch in French whether he would like to sleep with her. She comments that it is a good thing Mitch does not understand French. She encourages him to take off his coat, but he is embarrassed by his sweatiness. Blanche asserts that he is just a healthy man.

When Mitch suggests that the four of them go out together sometime, Blanche makes it clear that Stanley hates her. She asks whether Stanley has said anything derogatory about her. Mitch replies that he does not understand how Stanley could behave so rudely to her. Blanche says she plans to leave as soon as Stella has the baby.

Mitch asks Blanche her age, and Blanche refuses to answer. He explains that he asks because he has been with his mother talking about her. Blanche presumes Mitch will be very lonely when his mother dies. She explains that she knows this sort of loneliness firsthand because her one true love has passed away. She tells Mitch about Allan’s tenderness and sensitivity and says that she never understood him until she discovered he was having an affair with an older man. Blanche explains that Allan needed her to help him, but she could not see what was happening until it was too late. She confronted him while they were drunk at a dance at Moon Lake Casino. Her words provoked him to run to the edge of the lake and commit suicide. She can still hear the polka music that was playing during the time. Blanche cannot forgive herself for condemning Allan’s desires and pushing him to such drastic measures. She compares her love for Allan to a“blinding light.” Mitch answers that they are both lonely, and they both need someone. The polka tune that continually plays in Blanche’s mind ceases. Mitch and Blanche embrace with thoughts of marriage.

Several weeks later, Stanley arrives home after a day of work to find the apartment decorated for Blanche’s birthday party. He is disgruntled to know that Blanche is taking a hot bath, making the apartment even hotter and increasingly unbearable. Stanley proudly announces to Stella that he has found out the real story behind her sister’s extended visit. She was fired from her teaching job because she had an indecent relationship with a 17-year-old boy and set up residency at the Flamingo Hotel, which she was then forced to leave because of her sexual excesses. She has become the laughingstock of Laurel, Mississippi. Stella is profoundly stunned by this information, and she tries to defend Blanche by explaining the tragic situation with Allan. Stanley informs Stella that he felt it was his duty to warn his friend about Blanche. Blanche calls for a towel and notices a strained expression on Stella’s face, but Stella assures her nothing is wrong. Stella is fraught with worry about what will happen to Blanche now that Mitch is likely to abandon her. Stanley implies that Mitch may not be through with Blanche, but he certainly will not marry her. He remarks that he bought Blanche a bus ticket back to Laurel. Stanley yells for Blanche to get out of the bathroom so that he can use it. Sensing something is wrong, Blanche cautiously enters the room.

Nearly one hour passes. Stella, Stanley, and Blanche are eating dinner. Blanche is trying to ignore the empty chair where Mitch would be sitting. Blanche tries to lighten the mood of the party by telling a joke, but no one finds it funny. Stella says Stanley is “too busy making a pig of himself.” She instructs him to wash up and help her clean the table. Stanley flies into a rage, sweeping the table’s contents to the floor, and declares that he is the king in his home. When Stanley leaves the table and goes out onto the porch, Blanche begs Stella to tell her what is going on. Blanche calls Mitch’s home while Stella chastises her husband for passing rumors to Mitch. Stanley presents the bus ticket to Blanche. She runs into the bedroom crying. Stella yells at Stanley for being so terrible to Blanche. Stanley reminds his wife that she loves his commonness, especially at night in their bedroom. As he shouts for Blanche, Stella doubles over with pain. She is rushed to the hospital.

Later that evening, Blanche sits alone in the darkness of the apartment drinking liquor. Mitch enters wearing his work uniform. Although he is dirty and unshaven, she admits that she is happy to see him, as his presence stops the polka music that otherwise persistently plays in her mind. She searches for more liquor to serve him, but he declines drinking Stanley’s liquor. Mitch inquires why Blanche keeps the apartment so dark and insists on seeing him only at night. He wants to turn on the light, but Blanche begs him to allow the magic (illusions) to continue. When he wrenches the lantern off the lightbulb, Blanche’s aged face is revealed. He proceeds to tell her what he has heard about her promiscuous life in Laurel. Blanche immediately pleads that after Allan and the loss of Belle Reve, she could only find relief from the pain in the arms of strangers. A vendor is heard outside selling flowers for the dead. This sparks Blanche to talk about all of the deaths in her life. She says she was “played out” when she finally landed in New Orleans. She found solace and love with Mitch, believing that she could possibly find happiness and rest. Mitch embraces her, and she pleads for marriage. Mitch says she is unsuitable. He pulls her hair and demands the physical intimacy she has denied him all summer. Blanche orders him to leave, and when he does not, she runs to the window and shouts, “Fire!” This action prompts Mitch to leave.

A few hours later, Blanche is still alone and drinking heavily. She is wearing an old gown and a rhinestone tiara. Stanley enters carrying liquor. He informs Blanche that Stella will not have the baby before the morning, so he has come home. Blanche is nervous about being in the apartment alone with Stanley all night. Stanley laughs at her and questions her attire. Blanche announces that she has received a telegram from Shep Huntleigh, inviting her on a cruise to the Caribbean. Stanley retreats to the bedroom and collects the red silk pajamas he wore on his wedding night. When he returns, Blanche says that Mitch came by begging for forgiveness, but she simply could not forgive his cruelty. Stanley angrily denounces her lies. Blanche rushes to the telephone and pleads with the operator to connect her with Shep Huntleigh. When she puts down the phone, Stanley corners her. Blanche retreats to the bedroom, where she smashes a bottle to use as a weapon against him. Stanley lunges at her, grabs the bottle, and gathers Blanche in his arms. She fights him, but he overpowers her, stating that they have had this date with each other from the moment she arrived.

Several weeks later, Stella cries as she packs Blanche’s belongings. Eunice holds the baby while Stanley and his friends play poker. Stella wonders whether she is doing the right thing in sending her sister to the state institution. Eunice responds that if Stella wants to save her marriage, she must believe that Stanley did not rape her sister. Blanche enters from the bathroom with a “hysterical vivacity.” She asks whether Shep has called while she dresses. The doorbell sounds and a doctor and attendant enter to collect Blanche. Blanche wants to leave the apartment, but she does not want to be seen by Mitch, Stanley, and the other men. When she sees that the man at the door is not Shep, she tries to run back into the apartment. Stanley blocks her way. He cruelly tells her that all she has left in this apartment is the paper lantern hanging over the lightbulb. He tears it down and hands it to her. Blanche screams, and Stella rushes to the porch, where Eunice comforts her. The doctor and attendant wrestle Blanche to the ground to restrain her.

Mitch attacks Stanley, blaming him for Blanche’s condition. The men fight and their friends pull them apart. Blanche is helped to her feet. The doctor helps her to the door and she says that she has “always depended on the kindness of strangers.” Stella is heartbroken by the scene. She sobs while the doctor escorts Blanche out of the apartment. Stanley consoles Stella by fondling her breasts. Steve announces the next round of poker.

When asked about the meaning of A Streetcar Named Desire ,Williams responded, “the ravishment of the tender, the sensitive, the delicate, by the savage and brutal forces of modern society” (Haskell, 230). All the characters in Streetcar have been ravished by life to some degree. Although Stanley clearly functions as the most damaging force against Blanche, he, too, has also been forced to grow up too quickly as he spent his youth as a soldier serving in World War II. Reintegration into a mundane, peaceful world does not keep him fulfilled. He is moody and restless, and his animalistic tendencies are challenged by the overly refined Blanche.

Stella is a submissive character, placed in the middle of a war between gentrified society, represented by Blanche, and the rugged, practical world of the working class personified by Stanley. In war there are the victors and the vanquished. Blanche ultimately suffers the most damaging defeat, being institutionalized, while Stanley continues to brutalize his way through life.

In the opening scene of the play, Stanley appears carrying a package of bloody meat, which immediately establishes his primitive nature. In stark contrast, Blanche enters the scene wearing white. Williams compares her to a moth, symbolically stressing her fragility, purity, and virtue. Her pristine attire serves as an effective camouflage for her sordid past. As Chance Wayne (in Sweet Bird of Youth), Sebastian Venable (in Suddenly Last Summer), and Lot (in Kingdom of Earth, or the Seven Descents of Myrtle) do, by wearing white, Blanche uses her clothing to disguise her “degenerate” selfperception. Her name, which is French, literally means “white of the woods.” Out of her unlucky and desperate wilderness, Blanche enters the Kowalski apartment a transformed, mothlike creature of nature, recast as a virginal character. Although she has been a prostitute, Blanche prefers to believe in her renewed chasteness. She lives in a world of illusion and believes that her sexual encounters with strangers never constituted love; therefore, she never forfeited any aspect of her true self.

As has Karen Stone in The Roman Spring of Mrs. Stone , Blanche has an aversion to being viewed in bright light that will reveal her true age. As early as the first scene, she asks Stella to turn off the overhead light. Blanche is most comfortable in the warm glow of a lamp that allows her to play the part of the innocent coquette completely. She lies about her age when she courts Mitch and avoids spending time with him in daylight. When Mitch returns in the final meeting with her, he insists on tearing the lantern off the overhead light so that he may finally have a good look at her. When Blanche asks why he wants the glare of bright light, he says he is just being realistic. Blanche replies:

I don’t want realism. I want—magic! . . . Yes, yes, magic! I try to give that to people. I do misrepresent things to them. I don’t tell the truth, I tell what ought to be the truth. And if that’s a sin, then let me be damned for it! Don’t turn the light on!

Of course, Stanley has informed him that she has been lying about everything. However, her mothlike, youthful facade is not just used to fool Mitch; it is an integral part of who she is. Blanche wishes she could actually be what she pretends to be. She resigns from reality because it has been too harsh. The “magic” in which she chooses to dwell is her only means of survival, as her suffering has been so great. She fears that looking her age will further discredit her in a world that has already discarded her.

Blanche also drinks heavily, while pretending to adhere to a Southern gender code that restricts well-bred women from drinking in company or in public. This is another aspect of playing the innocent coquette. Late in the play, Mitch informs Blanche that Stanley has talked about how much of his liquor she has consumed, and she realizes that her subterfuge has failed.

Although it is a means of comfort and relief, alcohol has long been a source of shame and regret for Blanche. She particularly regrets her drunken criticism of Allan because she did not mean the words that drove him to take his own life. Leonard Berkman suggests:

It is not the existence of Allan’s homosexuality that signals the failure of Blanche’s marriage; it is, rather, that Blanche must uncover this information by accident, that Blanche is incapable of responding compassionately to this information, that in short there never existed a marriage between them in which Allan could come to her in full trust and explicit needs. (“The Tragic Downfall of Blanche DuBois,” 2)

Blanche responded to Allan’s sexuality with a sense of wounded pride, and as Brick in CAT ON A HOT TIN ROOF does to his friend Skipper, she spends the rest of her life regretting that she did not love and accept him. Blanche responded too harshly. She loved Allan and truly believed in their marriage; however, she lived in a romantic world of delusion until she witnessed a real moment when Allan was having sex with another man, which completely shattered the illusion. As Blanche explains to Mitch:

[Allan] was in the quicksand clutching at me— but I wasn’t holding him out, I was slipping in with him! I didn’t know that. I didn’t know anything except I loved him unendurably but without being able to help him or help myself.

In this instance, it was Blanche who was cruelly responsible for the ravishment (or abuse) of one that was “tender, sensitive, and delicate.”

Allan Grey’s suicide scene is reminiscent of the final scene in The Seagull by Anton Chekhov. When Konstantin can no longer endure his life and the knowledge that he must live without the love he desires, he is drawn to the lake (like a seagull) and shoots himself. Konstantin and Allan are tragically similar characters, who are gravely misunderstood by those around them. Williams was enamored of Chekhov’s characters, finding them dynamically flawed and powerfully present. Chekhov’s dramaturgical influence is inherent in Streetcar , as the psychological reality of the characters creates the dramatic tension and fuels the action to an unavoidable conclusion.

Blanche tells the story of her homosexual husband to Mitch, who could very easily assume that Blanche and Allan’s marriage was never consummated. Even through her tragically truthful tales Blanche continues to create the illusion that she is prim and virginal. This makes the news of her promiscuous past more shocking and insulting to Mitch, who has respected her wish to abstain from sexual intimacy. Blanche presents the person she would like to be: naive, proper, and respectable. Blanche has found an Allan substitute in Mitch. She longs to have an opportunity to re-create that marriage and have a second chance to make up for her cruel past actions. Mitch is the answer as his sensitivity stops the haunting polka music in her mind (i.e., the painful memories of Allan’s death).

Throughout the play, Blanche frequently takes long hot baths in the sweltering heat of a New Orleans summer. This symbolic act of baptism absolves her of her past sins and cleanses her body in preparation for her husband-to-be. She repeatedly purifies her body in water, and in her mind, by each ritual bathing, she creates more distance from the sullied strangers she encountered at the Flamingo Hotel in Laurel. In moments of desperation and self-doubt, Blanche bathes. This repeated action greatly annoys Stanley.

Stanley and Blanche are archenemies because they possess antithetical personalities, and each lays claim to Stella. Whereas Stanley respects complete honesty, Blanche delights in experiencing the world through rose-colored glasses. She spends much of her time rejecting the harshness of life, and Stanley is always there to make her acknowledge the truth. Blanche enjoys the protocol of the Old South; she is nostalgic about the tradition of Southern life, whereas Stanley hates sentimentality. In his production notebook, Elia Kazan writes of Blanche:

Her problem has to do with her tradition. Her notion of what a woman should be. She is stuck with this “ideal.” It is her. It is her ego. Unless she lives by it, she cannot live; in fact her whole life has been for nothing. (Kazan, 22)

Blanche defines her existence according to the traditions of the Old South. She is completely immersed in that world, whereas Stanley symbolizes the new or modern world that is obliterating that former way of living.

Early in the play these two characters clash over the subject of Belle Reve. It is Blanche’s lost, beautiful dream, rich with family heritage and pride; Stanley is interested only in the property’s material or monetary real estate value. He is happy in the loud, harsh, and dirty world of the Vieux Carré of New Orleans, whereas Blanche prefers finer accommodations, the bucolic setting of hundreds of acres of land and large white pillars on a grand veranda that provide lounging quarters out of the midday sun. Some critics see Blanche as Williams’s most representative character, as she has lost the stability of her ancestral home and is now in exile.

According to Kazan, Blanche’s emotional decline begins when she is stripped of her plantation:

The things about the “tradition” in the nineteenth century was that it worked then. It made a woman feel important with her own secure positions and functions, her own special worth. It also made a woman at that time one with her society. But today the tradition is an anachronism which simply does not function. It does not work. So while Blanche must believe it because it makes her special, because it makes her sticking by Belle Reve an act of heroism, rather than an absurd romanticism, still it does not work. . . . She’s a misfit, a liar, her “airs” alienate people, she must act superior to them which alienates them further. (Kazan, 22)

Blanche is one of Williams’s “lost souls,” those characters who are caught between an old and a new world. As are Amanda Wingfield (in The Glass Menagerie ) and Alma Winemiller (in Summer and Smoke ), who also delight in tradition, Blanche is lost in a modern, industrial society because in it she does not have a special position simply by virtue of being a Southern woman. Belle Reve is her identification or authentication as a person, and without it, she does not possess a self and therefore must rely on others to supply stability, security, and substance. Blanche only realizes that she is responsible for her own financial and social status when it is too late. Her “airs” are her tragic flaw in this new world, Stanley’s world, a world that has been changed through hardship and struggles associated with industry, war, and economic depression. Blanche becomes “a last dying relic . . . now adrift in our unfriendly day” (Miller, 23). Although this situation may make her more pitiable, it does not make her less offensive to her peers.

Blanche’s very vocal disapproval of Stanley serves to isolate her from Stella, the one sympathetic person in her life. Her critical opinion of the dismal apartment and of Stanley’s brutish demeanor creates a chasm in the sisters’ relationship, and her chances of familial bonding are sacrificed. Blanche demonstrates her racial prejudices when she calls Stanley a “Polack,” and her gradual, yet persistent provocations lead to her ultimate violation. This act of rape wounds Blanche to a point of no return. The culmination of Stanley’s victory over Blanche occurs when Stella refuses to believe that her sister has been assaulted. Stella sides with her husband as Blanche’s past and world of illusions (or dishonesty) serve to silence her in her most desperate moment.

Williams’s ability to “capture something of the complexity of the novel within the dramatic form, especially in the area of character probity and psychology” (Adler, 9), has set Streetcar apart and is the reason it merits its status not only as a modern classic, but s a watershed moment in U.S. theater history. Essentially, Williams created a new genre in the modern theater: a heightened naturalism that allows dreams (or nightmares) to coexist with reality.

DuBois, Blanche

Described in the opening scene as “mothlike,” Blanche is an aging Southern belle. She is refined, delicate, and steeped in the traditions of Southern gentry. She first appears wearing white, symbolizing her feigned purity and virtuous nature. Blanche is one of Williams’s dreamers, forfeiting reality for a magical or romantic approach to life. She is not concerned with truth, but rather “what ought to be the truth.”

When she was a young woman, Blanche married her true love, Allan Grey. He was tender and sensitive, different from the other men in her life. Although he was not “the least bit effeminate looking,” she learned of his homosexuality when she entered a room uninvited and found Allan having sex with an older male friend. Later that night, the three of them attended a dance at Moon Lake Casino. During this evening of heavy drinking, Blanche confronted Allan about his sexuality while a polka played and lovers danced around them. Devastated by Blanche’s disgust toward him, Allan ran off the dance floor. He found refuge at the edge of the nearby lake, where he shot himself. Blanche is forever haunted by the guilt she feels over Allan’s suicide. She cannot move beyond the loss of her husband, and in moments of desperation she still hears the polka waltz in her mind. She drinks whiskey to cope with her self-reproach, but the cruelty she displayed toward Allan forever torments her.

Blanche’s life continues on a downward spiral with the deaths of several other family members. She is obligated to nurse them, witnessing the slow, torturous deterioration of life. Blanche is forced to earn her living as a high school English teacher because her ancestral home, Belle Reve (which means “beautiful dream” in French), in Laurel, Mississippi, is in danger of foreclosure. Severely lonely and desperate, she finds consolation in the embrace of strange men. When she is fired from her teaching position because of a “morally unfit” liaison with a 17-year-old boy, her reputation is completely ruined. Belle Reve is foreclosed and she is forced to live in a seedy hotel called the Flamingo. Because of her practice of entertaining men at the Flamingo, she is eventually forced to leave that establishment as well.

Destitute and homeless, Blanche travels to New Orleans, taking a “streetcar named Desire” to the slums of Elysian Fields, where her sister, Stella Kowalski, lives with her brutish husband, Stanley Kowalski. She arrives unannounced at the crampedtwo-room apartment. She immediately rejects Stanley because of his unrefined behavior and crude, straightforward response to life. Her worst opinions of Stanley are justified when she witnesses the beatings Stella suffers at the hands of her husband. Blanche believes that “a woman’s charm is fifty percent illusion,” and she clashes with Stanley, who is determined to catch Blanche in all of her lies. Her facade quickly positions her as Stanley’s prime enemy. He is sickened by her exaggerations and false prudishness. Despite her past, Blanche remains married to the ideals of purity, creating the illusion of what she “ought to be.”

Stanley triumphs over her when he finds out about her promiscuous past in Laurel. He destroys her only chance of comfort by relating her sordid past to Mitch (Harold Mitchell), her only and final marriage prospect. Stanley then rapes Blanche, presuming that she has had so many sexual encounters that one more will make no difference. After this act, a deed that Stella refuses to acknowledge, Blanche is wounded once and for all. She loses her grip on reality and finds consolation in a type of magical world that will not allow her to hurt anymore. This world places her at the mercy of “the kindness of strangers.” The strange men in her life are replaced by the medical staff of a mental institution.

Hubbell, Eunice

Eunice is the wife of Steve Hubbell. She and Steve are the upstairs neighbors of Stanley and Stella Kowalski. As do Stanley and Stella, Eunice and Steve have a volatile marital relationship. In many ways, the older couple (Eunice and Steve) mirror Stanley and Stella and offer a vision of what the young couple will be in the future. Eunice is a confidante to Stella, and Eunice eases the younger woman’s transition into a life of denial and compromise. When Stella’s sister, Blanche DuBois, accuses Stanley of rape, Eunice instructs Stella to disavow Blanche’s claims for the sake of her marriage, her child, and her own sanity.

Hubbell, Steve

Steve is the husband of Eunice Hubbell. He and Eunice are the upstairs neighbors of Stanley and Stella Kowalski. As do Stanley and Stella, Eunice and Steve have a volatile marital relationship. In many ways, the older couple (Eunice and Steve) mirror Stanley and Stella and offer a vision of what the young couple will be in the future.

Kowalski, Stanley

He is a strong, brutish man of Polish descent. Stanley is a former soldier, who fought during World War II and who now lives in the mundane world of factory work. He is cruelly honest. His pastimes include bowling, drinking, playing poker with his friends and having sex with his wife, Stella Kowalski. Stanley enjoys the comforts of Stella’s love. Although he is unrefined, loud, and quick-tempered, he possesses a simplicity which makes him desirable to Stella. There is also an animal attraction between Stanley and Stella, and their relationship is based not on communication but on physical attraction. In the stage directions of Streetcar , Williams describes him as a “gaudy seed bearer [who] sizes women up at a glance.”

Stanley revels in the fact that Stella is from an old aristocratic Southern family and that she has rejected upper-crust society to live with him in a tenement house in the slums of New Orleans. Stanley functions with very basic objectives. He is strongwilled and responds to adversity with violence.

When his sister-in-law, Blanche DuBois, moves in, Stanley feels threatened by her presence and her rejection of his way of life. He does not like to share what is his: his wife, his liquor, and his apartment. When he finds out that the DuBois plantation, Belle Reve, has been foreclosed, he immediately demands proof that Blanche did not sell it and keep the money. Stanley expects to share any profits, as he is Stella’s husband. Stella and Blanche are personally devastated by the loss of their ancestral home; Stanley is only concerned with the practical, monetary side of the situation. He has no way of comprehending the emotional loss of such a thing. In addition, Blanche’s large personality leaves little room for him to be the center of attention. The two engage in a power struggle that draws out the worst in Stanley’s personality. The tension created by Blanche’s presence provokes Stanley to beat Stella and to seek a way to ruin his sister-in-law.

He triumphs over Blanche after searching for the truth of her disreputable past. When he has gathered this ammunition, he informs Blanche’s only marriage prospect, Mitch (Harold Mitchell)of her sordid past. By this he is able to pierce the virginal facade that Blanche has used to manipulate and control. Stella defends her sister by explaining that she has had a tragic past and she is weak, but Stanley is interested only in survival of the fittest. He rapes Blanche and denies that he did to Stella. This is Stanley’s ultimate triumph. In the end, Blanche is taken to a mental institution while Stanley comforts his wife by fondling her breasts.

Kowalski, Stella

She is the wife of Stanley Kowalski and the sister of Blanche DuBois. Stella is a member of a very refined and dignified Southern family, who has chosen to cast off her social status in exchange for marriage to Stanley, a vulgar and often brutal simpleton. She is caught in the war between Stanley and Blanche, whose constant bickering and fighting leads to Stanley’s sexually assaulting Blanche. Stella refuses to believe that her husband would rape her sister. After her accusations of rape, Stella commits Blanche to a mental institution. As does her sister, Stella glosses over harsh reality to live in the world of illusions to cope with Stanley’s abhorrent behavior.

Mitchell, Harold (Mitch)

A middle-aged man whose dedication to his ailing mother leaves him lonely and troubled. Mitch falls in love with Blanche Dubois, a refined, yet fading Southern belle. They engage in a respectable courtship, and Blanche insists on delaying sexual relations until they are married. When Stanley Kowalski informs Mitch of Blanche’s sordid past as a prostitute, he is shocked and offended that she has made him wait for sexual intimacy.

FURTHER READING Adler, Thomas P. A Streetcar Named Desire: The Moth and The Lantern. Boston: Twayne, 1990. Berkman, Leonard. “The Tragic Downfall of Blanche DuBois,” Modern Drama 10, no. 2 (December 1967): 249–257. Kazan, Elia. “Notebook for A Streetcar Named Desire,” in Twentieth Century Interpretations of A Streetcar Named Desire: A Collection of Critical Essays, edited by Jordan Y. Miller. Englewood Cliffs, N.J.: Prentice- Hall, 1971, pp. 21–26. Shaw, Irwin. “Masterpiece,” in Twentieth Century Interpretations of A Streetcar Named Desire: A Collection of Critical Essays, edited by Jordan Y. Miller. Englewood Cliffs, N.J.: Prentice-Hall, 1971, pp. 45–47. Sova, Dawn B. Forbidden Films: Censorship Histories of 125 Motion Pictures. New York: Facts On File, 2001.

Streetcar Named Desire Compare And Contrast Essay

The Same but Different In the play A Streetcar Named Desire by Tennessee Williams a plethora of characters present themselves, but two clash more than other in the entire play. Those two characters are Stanley Kowalski and Blanche Dubois and they had completely different upbringings. Stanley grew up quite poor and without manners being a necessity, while Blanche grew up with a rich and elegant lifestyle. Stanley constantly attempts to get rid of Blanche, and Blanche always tries to get Stella to leave his home. This leads to majority of those reading the play towards thinking false thoughts about them. Although many believed Blanche and Stanley are polar opposites due to how much they fight, they are actually extremely similar in regard to …show more content…

Stanley is married to Stella, and always shows intense passion for his wife. They have a strong sexual relationship, and in fact it seems as though the whole relationship is based off sex. After Stanley hit Stella in scene four, Stella said, “I am not in anything that I have a desire to get out of.” (74) to Blanche. Although Stanley physically abused his wife, Stella instantly forgave him because of his attractiveness, and thinks nothing of the situation. Blanche tries talking sense into her sister, but it does no good because Stella refuses to see past Stanley’s attractiveness. Blanche receives the same treatment from Mitch in the play. For example, in scene six, Mitch said, “Can I--uh--kiss you-goodnight?” (102). This just shows how much Blanche controlled in the relationship. A normal kiss between a man and woman involves the man taking a chance with that kiss. In this case Mitch felt the need to ask for permission from Blanche. While in certain cases some may find this “cute”, it actually shows that Blanche controls every situation, even one as spontaneous as a kiss. Mitch practically acted like Blanche’s slave and would do anything for her at the drop of a hat. Stanley and Blanche are completely alike in the regard that they abuse power through their

Outsiders In A Streetcar Named Desire

Stanley is a blunt, practical, and animalistic man who has no patience for subtleties and refinement. His animalistic character shows the moment he meets Blanche, when he, moving with “animalistic joy” (24), “sizes” Blanche up with “sexual classifications” and “crude image” in his mind (25). Under his stare, Blanche draws “involuntarily back” (25), a movement that foreshadows their later conflict and her subsequent demise. His practical and straightforward side shows when he interrogates Blanche about the sale of Belle Reve to make sure that his wife is not swindled. His straightforward, practical nature makes him “boom” out of impatience (46) and demands Blanche to cut straight to the point when she tries to talk in an indirect, subtle manner as befit a Southern gentlewoman.

Self Preservation In Night By Elie Wiesel

Blanche is projecting the self-image of a person who believes that they are above others. She acts as though she is of a royal family and demands the respect of everyone around her. She loses her family's home to the government and blames it on her sister who left in order to search for her own lifestyle. From the beginning of her visit, Blanche gets an off feeling about Stanley. When she arrives, he starts to stare at her with a sense of caution then soon begins inspecting the paperwork that she brought with her in order to validate her story.

A Streetcar Named Desire Conflict Essay

In the play A Streetcar Named Desire by Tennessee Williams, the main characters, Blanche Dubois and Stanley Kowalski, share a great dislike and distrust towards one another, ultimately becoming the basis for the story’s conflict. Their common contemption stems from their contrasting personalities and backgrounds, their incompatibility of being able to function under the same environment, and inability to adapt to the situations they find themselves in. Although Blanche detests Stanley and the manner in which he behaves in, she realises that he is a necessary part for Stella’s life in New Orleans, an environment that greatly differs from the southern aristocracy that Stella and Blanche once lived in. Blanche expresses this idea by stating, “Oh,

A Streetcar Named Desire Marriage Analysis

Stella’s sister, Blanche, sees through the illusion and can see how toxic the marriage really is. Stanley and Blanche come from distinctly different backgrounds, Stanley is from the working class while Blanche comes from wealth. Williams uses these two contrasting points of views on marriage, to show the issues of possessiveness, class, and sexism. When it comes to Stanley’s marriage to Stella, one of the most notable characteristics is how possessive Stanley is. An example of this is when Stanley found out that Blanche and therefore Stella, lost their estate.

Insecurity In A Streetcar Named Desire

She also prefers keeping her past to herself because of all the problems she has had. She prefers for people to not find out what has happened and why she is the way it is. An example is when Blanche panicked because they took off the little paper covering the lamp which made the room dim and got pissed because she did not want to show how she looks. Stanley is shown to be the “manliest man” but he is unstable and irrational when he realizes what he has done when the damage has been done. For example, when Stanley physically abused Stella he realized what he had done when he was brought back to his senses.

A Streetcar Named Desire: Similarities Between Stanley And Blanche

One major similarity between Blanche and Stanley is that they both like to manipulate or control other people, to make themselves feel better. Even though there are different ways Stanley and Blanche take control of other people they still do it in a familiar matter. For example, Blanche takes power and influence over people by lying to others and herself, to make them believe in something that actually never happened, with fantacy, therefore makes Blanche feel greater, than she actually may be. To go deeper in depth, to prove that Blanche is manipulative she also says. ¨I don 't tell the truth.

Theme Of Money In A Streetcar Named Desire

Stanley thought money was going to fix the issue. Blanche still continued to get into Stellas head about him but she wasn’t trying to hear it. Blanches independency was what created space between her and Stella because of their opposite views on situations. And due to that fact, Stella saw Blanche as a judgemental

Death In A Streetcar Named Desire

She refused to leave him when Blanche insisted and didn’t believe Blanche when it came to her being raped. Blanche, Stella, and Stanley all have the same want to be desired. The ways they act and treat each other back that up. Blanche feels the need to be desired by everyone around her, Stanley by Stella and others, and Stella by Stanley. Their lives revolve around desire.

Stella Kowalski's Sexuality In A Streetcar Named Desire

In Blanche and Stanley’s initial interactions, there was an air of sexual tension. This tension dissipates completely as the play progresses, and their relationship turns into a resentful and hateful one. Throughout the play, Stanley has several violent outbursts towards Stella that worry Blanche. This allows Stanley to assert dominance over both women. At the end of the play, Stanley releases his pent up anger and frustration toward Blanche through a sexual attack.

Violence And Power In A Streetcar Named Desire

The themes of violence and power in ‘A Streetcar Named Desire’ hold an important role in the criticism of 1940s American society. Conflicts perpetuated by violence and power, such as abusive relationships and violent oppression are projected through the characters within the play. Williams uses these conflicts to highlight his criticisms of faltering values and social norms, from the perspective of an individual constrained by the expectations of a strict, Southern society. To begin with, there is an indefinite violence between men and women within ‘A Streetcar Named Desire’. Stanley Kowalski, a focal character, is the epitome of male dominance and primitive aggression.

Theme Of Dominance In A Streetcar Named Desire

This is made clear through Stanley’s insecurities about inferiority to women and his prolonged struggle to defeat Blanche. Again, this is evident with Blanche and even Stella. Stella is perceived as a static character with no real individuality, and Blanche, who is seemingly more independent, is characterized mostly by her sexuality. Tennessee Williams demonstrates society’s need for the superiority of men to women through the interactions of Stanley and Blanche in the play, their struggles, and their ultimate

Foreshadowing In A Streetcar Named Desire

Stella accepts her willingly, however, Stanley begins to hear rumors. Blanche starts to date one of Stanley’s friends, Mitch, but when Stanley informs him about her past, Mitch basically tells her

Stereotypes In A Streetcar Named Desire

Not only has Tennesse Williams portrayed Stella and Blanche to be seen as delicate and dependent, our own society has created this image but this not only affects how individuals see themselves but affects relationships immensely. Tennessee Williams reinforces the stereotype in which women are often the victims of unfortunate fate within the usage of the character Blanche. Throughout the whole play, we have witnessed Blanche being on the bitter end of life's miseries as she has encountered the tough loss of Belle Reve, dealing with her ex-husband's suicide and the loss of her relationship with Mitch. Arguably, the expectations and beliefs of women were either to be a housewife or a mother, whereas Blanche shows neither, as a result of automatically feeling out of place possibly leading to her downfall. Blanche was constantly fantasizing about the traditional values of a southern gentlemen, proving her dependence on this sex.

A Streetcar Named Desire Literary Analysis

(10.225). towards the end of the play Stella, Mitch, and Stanley play a role in imposing reality into her allusions. As Stella calls for the Doctor to pick Blanche up it rips her away from her fantasies with Shep Huntleigh. When Mitch reveals to Blanche that she isn't pure enough to take home to his

A Streetcar Named Desire: Discussion Questions

In Scene 10, Blanche is begging Stanley to let her get by and he is not moving to let her through. Stanley says that he thinks Blanche would not be too bad to interfere with in a sexual way going back to Scene 6, when he would walk through the rooms in his underwear at night near Blanche. Blanche complained about the little bit of privacy she had in the house and that was exemplified when Stanley later picked her up and carried her into the bedroom. Blanche had thought in the beginning that her situation was frightful, but never to the degree in which she experienced towards the end of the

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Reality Versus Illusion in The Streetcar Named Desire

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A Streetcar Named Desire: Novel Vs Film

A Streetcar Named Desire by Tennessee Williams was a hit at the time it was released (1947) and is still considered one of Williams’s most popular work. It uncovered many issues in the world from the time he wrote it that still apply today such as insanity, domestic violence, compulsive lying, trust issues, homosexuality, etc. (Cite where you got this information)This piece puts light on issues that most people try to avoid. The play was first staged on December 3, 1947 and it received the title of being William’s top seller. It was also his first work to be displayed in the “big screen” after the publishing of the book. The book and film were the same and different in many aspects such as the portrayal of the characters, setting, and the censorship of Mr. Williams’s work.

The novel and movie both share certain qualities but also have their own clear differences from one another. One of the most easily distinguishable similarities was the plot of Williams’s work. In both the novel and film, the plot of the story is presented in the same basic description. They both have similar structure from the beginning to end of the story, with very little detail missing out of them. They both follow the key points of the story; Blanche’s compulsive lying, an insight on the relationship of Stella and Stanley, Blanche’s desire for attention, homosexuality, the rape scene, etc. There were no major scenes added or taken out, mainly because in the making of the play, Williams expressed the importance of every scene in creating the effect that he wanted although there are some minor differences in detail from the book to movie. One of the major differences from the book to film was the censorship of the movie. Censorship laws began to take place to cleanse material for audiences of all ages in theatres, they began taking place in 1950 (the film of Streetcar was first shown in 1951).

The stage was not required to follow censorship laws, but the film was; which is why there are some differences from the play and film and even the novel. In the novel, there were several scenes with foul language but were not counted for in the film. (citation)In addition, the rape scene at the end of the story was almost absent due to its short presence in the story but still had its effect on the audience. The movie industry argued to remove that scene due to its gruesome nature but Williams explained the importance of the scene and settled for a short scene, as long as it was part of the film.

The film was very distinct, yet similar to the book in many ways. To begin, the film did a great job revealing the characters’ true personality traits that Williams intended for them. One of the best depicted is Stanley. Throughout the entire novel, Stanley Kowalski is often described as an obnoxious, addicted to alcohol, selfish man both through his actions and dialogue. He is even described animalistic when Blanche states, “He acts like an animal, has animal habits! Eats like one, moves like one, talks like one!… Yes, there’s something ape-like about him… Thousands of years have passed right by him and there he is- Stanley Kowalski- survivor of the Stone Age!” (Williams 323). The play provides a this clear image of Tennessee’s image of Stanley with his clothing, dialogue, attitude, just the way he is. In addition, the cast does well with portraying Blanche. Blanche is described as over dramatic, problematic, and a liar throughout the novel with actions behind this claim.

The woman who played Blanche (Vivien Leigh) is extremely spot- on with the issues and even the little details such as the tone, facial expressions, and gestures from the novel that describe Blanche DuBois. On the other hand, in the sense of portrayal of the setting, the film took its own path. In the novel, the entrance to the story depicts the setting as a very poor and private setting. Tennessee states, “The section [of New Orleans] is poor… the houses are mostly white frame, weathered grey, with rickety outside stairs” (Williams 3). There is no real description of surrounding buildings in the novel.

However, in the film, there are actually buildings and other objects that display a perimeter of the setting rather than just the building described in the novel. It pictured the housing buildings along with some surrounding buildings such as the well- known bowling alley Stanley attends. Not only that, but the setting of Stella and Stanley’s home is also different. The film shows the house to be very small and suffering from claustrophobia. Although the novel did describe the house to be lacking in availability of space, the audience can argue that the stuffiness of the home in the film was much larger than expected.

A Streetcar Named Desire by Tennessee Williams was a very successful piece considering it is existing in three forms; novel, play, film. All three forms have had success, each with its own style and form of Williams’s work. Between the film and book, they were similar and different in multiple different ways such as the portrayal of the characters, setting, and the censorship of Williams’s work. Personally, the book is the better form of A Streetcar Named Desire mainly due to the excessive detail it provided about everything and everyone. Williams provided many descriptive notes (A.KA. narrator comments) in the novel that were able to paint a better picture in my mind than the actual film did. It almost seems as if the directors of the film didn’t quite follow the descriptions Williams provided which made it less favorable.

The novel provides insights into the characters minds, describes specific tones in which phrases are said, and just contributes more detail to the reader’s mind than the film was able to. One way the film could possibly overrule the book would be with the direct interpretation of the novel, following it exactly as it is printed (scenes, dialogues, character descriptions, etc). But even then, the book would still be better because due to the censorship laws, a few of the more important scenes would be illegal to include, whereas in the novel they are not.

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Compare And Contrast A Streetcar Named Desire Play And Movie

"A Streetcar Named Desire": Comparing the Play and Movie Version Comparing the play versus, the movie versions of A Streetcar Named Desire has been entertaining and enlightening. Originally written as a play, Tennessee Williams later adapted it into a screenplay for the film version. Consequently, both versions were extremely popular in their own right. Drama and social taboos create an emotionally charged viewing adventure. Williams characters are complex, exciting and just crazy enough to keep the audience spellbound. The DuBois sisters are complete opposites sharing only their love for each other as common ground. Blanche, the older sister, shows up for an impromptu visit with her sister Stella Kowalski . Stella and her husband Stanley live in New Orleans, in the French Quarter. Blanche has become destitute and has lost the family plantation. Stanley, incensed by the idea that Blanche has taken the plantation from him, sets out to destroy her by any and all means. The characters and performers provide a riveting and consequently soulful performance that is hauntingly unforgettable. Williams writing moves the audience to tears with dynamic characters, conflict and catastrophe of unimaginable depth. The considerable characters of A Streetcar remain relatively indistinguishable in both versions of the work. The play and film versions of the characters were an exact match. The seamlessness allowing the stars, who acted as these characters, to act in both play and film

Essay On A Streetcar Named Desire

The play A Streetcar Named Desire, by Tennessee Williams, is a play about a woman named Blanche Dubois who goes to live with her sister after she loses her home in Mississippi. Between the hardships of her previous life and the way she is treated now, she is not in a good way by the time the play ends. She basically has a mental breakdown. There are three stages of Blanche’s mental state. She lives in a fantasy, Mitch rejecting her, and Stanley raping her, Blanche is mentally unstable by the end of this ply.

Ethical Lessons in A Streetcar Named Desire by Tennessee Williams

1 Works Cited

A Streetcar Named Desire by Tennessee Williams is a play about a woman named Blanche Dubois who is in misplaced circumstances. Her life is lived through fantasies, the remembrance of her lost husband and the resentment that she feels for her brother-in-law, Stanley Kowalski. Various moral and ethical lessons arise in this play such as: Lying ultimately gets you nowhere, Abuse is never good, Treat people how you want to be treated, Stay true to yourself and Don’t judge a book by its cover.

Comparison of Streetcar Named Desire the Play and the Movie

Based on Tennessee William’s A Streetcar Named Desire, Elia Kazan creates an award winning movie that helps readers visualize Stanley’s primal masculinity, the inner torments of the Kowalski women and the clash of the other characters’ problems which create a chaotic mess. Using stage directions in the play, William hints that Blanche is not who she appears to be while the movie subtly sheds light on Blanche’s strange little habits that suggests a bigger issue. The movie also censors many of the main themes in Williams’ play but makes up for it by having its actors flawlessly portray the characters’ emotions, allowing the readers to see the

Blanche Dubois: A Tragic Hero

Throughout Tennessee William’s play “A Streetcar Named Desire,” Blanche Dubois exemplified several tragic flaws. She suffered from her haunting past; her inability to overcome; her desire to be someone else; and from the cruel, animalistic treatment she received from Stanley. Sadly, her sister Stella also played a role in her downfall. All of these factors ultimately led to Blanche’s tragic breakdown in the end.

A Streetcar Named Desire, Literary Analysis Essay

“Stella has embraced him with both arms, fiercely, and full in the view of Blanche. He laughs and clasps her head to him. Over her head he grins through the curtains at Blanche.” (Williams 73) A Streetcar Named Desire written by Tennessee Williams exemplifies the theme of a struggle to attain happiness. The play not only portrays this theme in its characters and setting, but through the literary devices of Foil, Imagery, and Intertextuality. Williams took great care in applying each of these literary device techniques to the theme as he presents an intriguing contrast between Blanche and Stanley, vivid images both animalistic and broken, and imploring the use of the Odyssey to further

Analysis Of ' A Streetcar Named Desire '

In Tennessee Williams’ play A Streetcar Named Desire, Williams explores the internal conflict of illusion versus reality through the characters. Humans often use illusion to save us pain and it allows us to enjoy pleasure instead. However, as illusion clashes with reality, one can forget the difference between the two. When people are caught up in their illusions, eventually they must face reality even if it is harsh. In the play, Blanche suffers from the struggle of what is real and what is fake because of the difficult events of her past. Blanche comes to her sister Stella seeking aid because she has lost her home, her job, and her family. To deal with this terrible part of her life, she uses fantasy to escape her dreadful reality. Blanche’s embracement of a fantasy world can be categorized by her attempts to revive her youth, her relationship struggles, and attempts to escape her past.

A Streetcar Named Desire

A Streetcar Named Desire written by Tennessee 0portray a play center and revolving around characters and New Orleans. The two settings are completely different we are introduced to Elysian Field where the Kowalski live and then Blanche from Belle Reve a high class society. Stella has written to Blanche “She wasn’t expecting to find us in such a small place. You see I’d tried to gloss things over a little in my letters” (31). Blanche meanwhile travelled to stay with the Kowalski on two streetcars which will ultimately determine her faith she longs for desire but could not bear the sign of death.

Theme Of Domestic Violence In A Streetcar Named Desire

In the beginning of the play A Streetcar Named Desire by Tennessee Williams, Blanche first arrives from Laurel Missouri and immediately becomes the antagonist. As the play goes on Stanley starts to go against Blanche. At the end of the play Blanche becomes the victim. In the end, Stanley sent Blanche off to a mental asylum. This plays demonstrates domestic violence. In the beginning of the play A Streetcar Named Desire, Tennessee Williams shows how society accepted it and ignored it.Stanley, one of the characters in the play, found domestic violence to be a positive and very sexual part of him and his wife, Stella's, relationship. Throughout the play, Williams shows that he believes that it is wrong.

A Streetcar Named Desire - First Impressions

In the opening two scenes of ‘A Streetcar Named Desire’ by Tennessee Williams, the audience has its first and generally most important impressions formulated on characters, the plot and the mood and tone of the play overall.

A Streetcar Named Desire Compare And Contrast

A Streetcar Named Desire 's original drafts were started in the early 1940s by playwright Tennessee Williams, who prepared and tested numerous titles for the work. Eventually, the completed play opened on December 3, 1947 in New York City staring Marlon Brando as Stanley Kowalski and directed by Elia Kazan. This run of Streetcar lasted 855 performances until 1949 and won Williams a Pulitzer Prize and the New York Drama Critics ' Circle Award. Later, in 1951, the film version was adapted and stared Brando along side Vivien Leigh as Blanche with Kazan holding the seat as director once again. Both the play and film adaptations of A Streetcar Named Desire have received critical acclaim and much success, so much so that Williams work is both

Joseph O ' Neil : The Greatest American Playwright

(3) His most popular work is perhaps “A Streetcar Named Desire” because it dealt with sexuality and psychology that had never been spoken of before in American Culture. “A Streetcar Named Desire” came out in the year 1947 and completely surprised the audience that read it.The book included every act of defiance in media that can be possible.The play is about a women name Blanche Dubois who has just lost everything, her home, her family, her money, her job and her husband. She then decides to move in with her sister Stella who left the family and married a controlling, and aggressive man, Stanley. The couple have a very strong sexual desire for each other which so begins Williams first strike against “society rules”. Stanley and Blanche don’t seem to quite get along however there are many controversial discussions on whether or not they were actually flirting with one another. Meanwhile Blanche begins to date one of Stanley’s close friend Mitch, who she grows very fond of; Blanche begins to admit personal secrets to him including the death of her husband which throughout the novel it is a very sensitive topic for her to discuss. This part of the play is perhaps the most unforgiving scene Tennessee Williams could have written. A majority of the play

Tennesse Williams In A Streetcar Named Desire

Tennesse Williams is an expert of dissecting and analyzing complex personalities and he does it expertly in his classic "A Streetcar Named Desire." The play’s dialogue was simple, anyone would be able to understand it. The plot starts with Blanche Dubois coming to New Orleans to visit her sister Stella and her husband Stanley Kowalski. Both sisters grew up in a place called Belle Reve and had not seen each other in years. Throughout the play, The audience will start to see Blanche go a little insane as she tries to forget the loss of her former husband who killed himself years before, something she feels guilty about. Stanley starts to harass Blanche and beings to accuse her of lying about her past. Towards the end of the play, Blanche gets

Essay A Streetcar Named Desire Analysis

This 1950's theatrical presentation was directed by Elia Kazan and written by Tennessee Williams. It is about a southern bell by the name of Blanche Dubois who loses her father's plantation to a mortgage and travels to live in her sister's home in New Orleans by means of a streetcar called Desire. There she finds her sister living in a mess with a drunken bully husband, and the events that follow cause Blanche to step over the line of insanity and fall victim to life's harsh lessons.

Compare And Contrast A Streetcar Named Desire And Network

As actors are the most influential block of the Academy, it is easy to understand why both films, “A Streetcar Named Desire” and “Network” are so successful. Both films featured outstanding performances, arguably none more outstanding than that of the female lead in “A Streetcar Named Desire” Vivien Leigh. While the performances off all the actors in each of the films are notable, to accurately discuss how the actors, distinguish themselves, some context of the plot of each film must be noted, so that the characters (and therefore the actor’s performances playing said actors) can be fairly observed. The emphasis on the explanation of plot will be geared to focus on actor

Compare And Contrast A Streetcar Named Desire And Death Of A Salesman

When she arrives on her sister’s doorstep, the tragic hero of Williams’ play A Streetcar Named Desire, Blanche DuBois, is blatantly out of place. However, with no where else to go, the former aristocrat arrives at the home of Stella and her husband Stanley in downtown New Orleans. Once there, Blanche seeks refuge from reality through the acceptance of men. However, Stanley, sees through Blanche’s compulsive lies and investigates her suspicions past. After being confronted and sexually abused Blache’s increasingly disillusioned mental state compels Stella to put her sister in a mental hospital. Willy Loman, the protagonist of Arthur Miller’s play Death of A Salesman, experiences a similar mental deterioration. After an unsuccessful business

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A Streetcar Named Desire

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Literary Context Essay: Social Realism in the Play

Depicting a gritty, highly detailed slice of New Orleans life, A Streetcar Named Desire demonstrates the influence of the social realism movement in literature and the performing arts. Social realist dramas are naturalistic works set in actual places and recognizable milieus whose characters are not just individuals but cultural archetypes—that is, they represent social classes, cultures, nationalities, or races. The action of social realist dramas covers how characters co-exist (or don’t) and dramatizes a clash between them. Typically, one character or group of characters rises and another falls, symbolizing a shift in society or civilization.

In the theatre, social realism developed in the 1870s with the plays of Henrik Ibsen, August Strindberg, and Anton Chekhov and, slightly later, George Bernard Shaw. By the 1930s, it had become the dominant style of American theater. Given the intense events transforming the world at the time, including economic depression and the rising threat of war, it seemed almost mandatory to examine people within the context of the social order and as representatives of its different aspects. In the 1940s, rising playwrights like Tennessee Williams and Arthur Miller slightly altered the form. These playwrights grounded their plots, settings and characters in real life but often used expressionistic theatrical devices, such as flashbacks or juxtaposed actions, in their storytelling. For example, to convey Blanche’s deteriorating mental state, Streetcar departs from realistic jazz music to feature incoherent sounds that only she sees and hears. The stage directions also specify the symbolic use of color in costume: Stanley wears brightly colored shirts and pajamas as befits his identity as a “gaudy seed-bearer.”

Read more about Henrik Ibsen’s A Doll’s House , an early work of social realism.

With its colorful, lower-class urban setting, Streetcar influenced a new generation of socially realistic works. One such variety, the kitchen-sink drama, was especially popular in 1950s and early 1960s Britain. Often set in poorer industrial areas, plays by Arnold Wesker and John Osborne depicted the ordinary lives of the working class, showing people questioning, rebelling against, or submitting to their grim domestic surroundings.

A Streetcar Named Desire (SparkNotes Literature Guide)

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Full play analysis summary, character list characters, blanche dubois characters, themes literary devices, fantasy quotes, full play quick quizzes, take a study break.

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A Streetcar Named Desire

Tennessee williams, ask litcharts ai: the answer to your questions.

Masculinity, particularly in Stanley , is linked to the idea of a brute, aggressive, animal force as well as carnal lust. His brute strength is emphasized frequently throughout, and he asserts dominance aggressively through loud actions and violence. Even his clothing is forceful: he dresses in bright, lurid colors. Stanley’s masculinity is deeply connected to the “sub-human.” Williams describes him as a “richly feathered bird among hens” and a “gaudy seed-bearer.”

Much emphasis is placed on Stanley’s physical body: he is frequently seen stripping his shirt off; cross at Blanche for not letting him spend time in the bathroom (where the audience cannot see him, but can imagine his naked form). Stanley asserts his masculinity physically as well as psychologically. Physically, he bellows in a sort of animal mating call at Stella . He also forces himself upon Blanche. Psychologically, he investigates Blanche’s sordid past and brings it into the limelight, airing Blanche’s dirty laundry (both literally and metaphorically) to affirm his position as not only the alpha male but also the head of the household. Yet although Stanley is aggressively animal in his male nature, his masculinity also asserts itself in his response to the feminine. He has tender responses to Stella’s pregnancy; his tone shifts suddenly both when he breaks the news to Blanche and when Stella tells him that she is in labor. He also breaks down when Stella leaves him after he hits her.

Stanley is a prime specimen of manhood, but he is not a gentleman. Stanley represents the powerfully attractive but powerfully frightening threat of masculinity, whereas Mitch represents masculinity as a trait of comfort and refuge. If Stanley is the alpha male, Mitch is a beta male: still a masculine force, but not asserting the same kind of physical dominance over the space. But Mitch still finds his power through physical assertion. Mitch brags about his body to Blanche and insists on his precise measurements (six foot one, two hundred seven pounds). Even though Mitch isn’t as violently male as Stanley, he is just as imposing a physical specimen. Blanche sees Mitch as male enough to radiate a carnal attractiveness, but not physically or psychologically dangerous in the way that Stanley is.

Masculinity and Physicality ThemeTracker

Masculinity and Physicality Quotes in A Streetcar Named Desire

Sit there and stare at me, thinking I let the place go? I let the place go? Where were you ! In bed with your–Polack!

Since earliest manhood the center of [Stanley’s] life has been pleasure with women, the giving and taking of it, not with weak indulgence, dependently, but with the power and pride of a richly feathered male bird among hens.

Interior and Exterior Appearance Theme Icon

I never met a woman that didn’t know if she was good-looking or not without being told, and some of them give themselves credit for more than they’ve got.

Now let’s cut the re-bop!

Oh, I guess he’s just not the type that goes for jasmine perfume, but maybe he’s what we need to mix with our blood now that we’ve lost Belle Reve.

STELL-LAHHHHH!

There are things that happen between a man and a woman in the dark–that sort of make everything else seem–unimportant.

What you are talking about is brutal desire–just–Desire!–the name of that rattle-trap street-car that bangs through the Quarter.

Don’t–don’t hang back with the brutes!

Sometimes–there’s God–so quickly!

I told you already I don’t want none of his liquor and I mean it. You ought to lay off his liquor. He says you’ve been lapping it up all summer like a wild-cat!

Tiger–tiger! Drop the bottle-top! Drop it! We’ve had this date with each other from the beginning!

You left nothing here but spilt talcum and old empty perfume bottles–unless it’s the paper lantern you want to take with you. You want the lantern?

Comparison: Death of a Salesman and A Streetcar Named Desire Essay (Movie Review)

The most outstanding connection between the Death of a Salesman and Street Car Named Desire is illusion. In the Death of a Salesman, Willy, the protagonist, is lost in the illusion that the American dream is only achievable via superficial qualities of likeability and attractiveness. He confuses the dream with philistinism and he ends up hurting his family due to his failure to achieve his dreams. In Willy’s interpretation, the elusive American dream calls men to be attractive and simpatico, but he does not meet the threshold and thus he is a failure. In Street Car Named Desire, Blanche DuBois, the protagonist, is disillusioned and lost in fantasy and thus she cannot deal with reality.

In a bid to avoid the reality, Blanche resorts to lies and scheming hoping to create a kinder world, as opposed to the harsh reality of life. Somehow, Blanche ultimately experiences a falsified form of happiness, but she never overcomes the illusions surrounding her thoughts.

The other connection between the two plays is that the protagonists are sexual outlaws. Both Willy and Blanche have a dark past surrounded by illicit affairs. Willy is romantically entangled in an illicit affair with a ‘woman’ he only encountered somewhere on his way to Boston, yet he is married. On the other hand, Blanche loses her job as a high school tutor after getting involved sexually with one of her male students. She also admits that she normally beds strangers. This sexually turbulent past haunts the two protagonists and to some extent, it contributes to their ultimate destruction.

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IvyPanda. (2020, May 21). Comparison: Death of a Salesman and A Streetcar Named Desire. https://ivypanda.com/essays/comparison-death-of-a-salesman-and-a-streetcar-named-desire/

"Comparison: Death of a Salesman and A Streetcar Named Desire." IvyPanda , 21 May 2020, ivypanda.com/essays/comparison-death-of-a-salesman-and-a-streetcar-named-desire/.

IvyPanda . (2020) 'Comparison: Death of a Salesman and A Streetcar Named Desire'. 21 May.

IvyPanda . 2020. "Comparison: Death of a Salesman and A Streetcar Named Desire." May 21, 2020. https://ivypanda.com/essays/comparison-death-of-a-salesman-and-a-streetcar-named-desire/.

1. IvyPanda . "Comparison: Death of a Salesman and A Streetcar Named Desire." May 21, 2020. https://ivypanda.com/essays/comparison-death-of-a-salesman-and-a-streetcar-named-desire/.

Bibliography

IvyPanda . "Comparison: Death of a Salesman and A Streetcar Named Desire." May 21, 2020. https://ivypanda.com/essays/comparison-death-of-a-salesman-and-a-streetcar-named-desire/.

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A Streetcar Named Desire: Mini Essays
A Streetcar Named Desire can be described as an elegy, or poetic expression of mourning, for an Old South that died in the first part of the twentieth century. Expand on this description. The story of the DuBois and Kowalski families depicts the evolving society of the South over the first half of the twentieth century.
A Streetcar Named Desire Historical and Social Context
Historical Context. Many of the major themes of A Streetcar Named Desire are embodied in the history and culture of New Orleans. The lively setting of the French Quarter, with its streetcars, bars ...
Analysis of Tennessee Williams's A Streetcar Named Desire
Tennessee Williams 's (March 26, 1911 - February 25, 1983) A Streetcar Named Desire (1947), is generally regarded as his best. Initial reaction was mixed, but there would be little argument now that it is one of the most powerful plays in the modern theater. Like The Glass Menagerie, it concerns, primarily, a man and two women and a ...
A Streetcar Named Desire Essay
An Examination of The Character of Blanche in a Streetcar Named Desire. 5 pages / 2287 words. In Tennessee Williams' play, A Streetcar Named Desire, the nature of theatricality, "magic," and "realism," all stem from the tragic character, Blanche DuBois. Blanche is both a theatricalizing and self-theatricalizing woman.
A Streetcar Named Desire Compare And Contrast
A Streetcar Named Desire Compare And Contrast. A Streetcar Named Desire 's original drafts were started in the early 1940s by playwright Tennessee Williams, who prepared and tested numerous titles for the work. Eventually, the completed play opened on December 3, 1947 in New York City staring Marlon Brando as Stanley Kowalski and directed by ...
A Streetcar Named Desire: Suggested Essay Topics
Suggestions for essay topics to use when you're writing about A Streetcar Named Desire. Search all of SparkNotes Search. Suggestions. Use up and down arrows to review and enter to select. A Streetcar Named Desire ... Compare and contrast Mitch to the other men in the play. 5. Compare and contrast Blanche and Stella.
'The Great Gatsby' and 'A Streetcar Named Desire' Literature Comparison
Introduction. Daisy Fay Buchanan in 'The Great Gatsby' and Stella Kowalski in 'A Street Car Named Desire' bring out various aspects of feminine character. They manage to show the true value attached to a woman's beauty, wit, and intelligence in their respective settings. This seen in the way she is described, "She has the grace ...
A Streetcar Named Desire: Study Guide
Overview. A Streetcar Named Desire by Tennessee Williams, first performed in 1947, is a classic American play that unfolds in the vibrant and tumultuous setting of New Orleans. The story revolves around Blanche DuBois, a fragile and troubled woman who moves in with her sister, Stella, and her brother-in-law, Stanley Kowalski.
Streetcar Named Desire Compare And Contrast Essay
A Streetcar Named Desire 's original drafts were started in the early 1940s by playwright Tennessee Williams, who prepared and tested numerous titles for the work. Eventually, the completed play opened on December 3, 1947 in New York City staring Marlon Brando as Stanley Kowalski and directed by Elia Kazan.
Compare Blanche and Stella in A Streetcar Named Desire.
Get an answer for 'Compare Blanche and Stella in A Streetcar Named Desire.' and find homework help for other A Streetcar Named Desire questions at eNotes ... Essays and Criticism ... 17 Mar. 2017 ...
Streetcar Named Desire Compare And Contrast Essay
A Streetcar Named Desire Conflict Essay. 783 Words | 4 Pages. In the play A Streetcar Named Desire by Tennessee Williams, the main characters, Blanche Dubois and Stanley Kowalski, share a great dislike and distrust towards one another, ultimately becoming the basis for the story's conflict. Their common contemption stems from their ...
Fantasy and Delusion Theme in A Streetcar Named Desire
In Scene One, Blanche takes a streetcar named Desire through Cemeteries to reach Elysian Fields, where Stella and Stanley live. Though the place names are real, the journey allegorically foreshadows Blanche's mental descent throughout the play. Blanche's desires have led her down paths of sexual promiscuity and alcoholism, and by coming to stay with the Kowalskis, she has reached the end ...
PDF AQA English Literature A-level A Streetcar Named Desire: Themes
In A Streetcar Named Desire, the themes of death and desire permeate most of the play's events. Williams crafts these two elements as extremely interconnected, and relates them to Blanche's downfall. and her tragic ostracization from society. This is essentially through all of the loss. she has experienced in her life (most prominently the ...
A Streetcar Named Desire Study Guide
Key Facts about A Streetcar Named Desire. Full Title: A Streetcar Named Desire. When Written: 1946-7. Where Written: New York, Los Angeles, and New Orleans. When Published: Broadway premiere December 3, 1947. Literary Period: Dramatic naturalism. Genre: Psychological drama.
Reality Versus Illusion in The Streetcar Named Desire
Get custom essay. In A Streetcar Named Desire, Tennessee Williams' use of music, lights, and dialogue illustrate Blanche DuBois' addiction to illusion and her fall into madness. In the play, music provides both a background to DuBois' trauma, develops the scenic mood, and reveals much of the protagonist's coping mechanism.
A Streetcar Named Desire: Novel Vs Film
A Streetcar Named Desire: Novel Vs Film. A Streetcar Named Desire by Tennessee Williams was a hit at the time it was released (1947) and is still considered one of Williams's most popular work. It uncovered many issues in the world from the time he wrote it that still apply today such as insanity, domestic violence, compulsive lying, trust ...
Comparing The Handmaid's Tale to A Streetcar Named Desire
Handmaid and Streetcar Essay Plans. 22 terms. austenpowers7. Preview. Literary period key words . 20 terms. Falcon565. Preview. Heroes - Chapter 2. 9 terms. Ethan_Horner26. Preview. Q2 Comparison - Streetcar Named Desire and The Handmaid's Tale Key Quotes. 10 terms. shreyaa01. Preview. Skirrid Hill themes. 7 terms. MeganSlade1. Preview. Key ...
Compare And Contrast A Streetcar Named Desire Play And Movie
Blanche, the older sister, shows up for an impromptu visit with her sister Stella Kowalski. Stella and her husband Stanley live in New Orleans, in the French Quarter. Blanche has become destitute and has lost the family plantation. Stanley, incensed by the idea that Blanche has taken the plantation from him, sets out to destroy her by any and ...
A Streetcar Named Desire: Literary Context Essay: Social Realism in the
Depicting a gritty, highly detailed slice of New Orleans life, A Streetcar Named Desire demonstrates the influence of the social realism movement in literature and the performing arts. Social realist dramas are naturalistic works set in actual places and recognizable milieus whose characters are not just individuals but cultural archetypes—that is, they represent social classes, cultures ...
Masculinity and Physicality Theme in A Streetcar Named Desire
LitCharts assigns a color and icon to each theme in A Streetcar Named Desire, which you can use to track the themes throughout the work. Masculinity, particularly in Stanley, is linked to the idea of a brute, aggressive, animal force as well as carnal lust. His brute strength is emphasized frequently throughout, and he asserts dominance ...
Comparison: Death of a Salesman and A Streetcar Named Desire Essay
The most outstanding connection between the Death of a Salesman and Street Car Named Desire is illusion.In the Death of a Salesman, Willy, the protagonist, is lost in the illusion that the American dream is only achievable via superficial qualities of likeability and attractiveness.He confuses the dream with philistinism and he ends up hurting his family due to his failure to achieve his dreams.
What are the similarities in theme and character between "A Streetcar
What similarities exist between A Streetcar Named Desire and To Kill a Mockingbird? Compare and contrast the theme of love in A Streetcar Named Desire and 1984.
Gender-Based Behavior in 'A Streetcar Named Desire'
The purpose of this essay is to explore the impact of longheld notions of gender-based behavior upon the characters in Tennessee Williams' A Streetcar Named Desire. Throughout the play, the characters struggle with the desire to establish their own identities and the pressure to accept and conform to the role that society determines for them.

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A Streetcar Named Desire

Tennessee Williams

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A Streetcar Named Desire

Masculinity and Physicality ThemeTracker

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