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All about blanche in streetcar named desire
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A Street Car Named Desire - The Importance of Scene 6
Scene 6 is a poignant part of 'A Street Car Named Desire' and only contains the characters Mitch and Blanche. The scene begins with the impression that Blanche and Mitch have not enjoyed the evening that they have just spent together at a local carnival. Blanches voice and manner is described as being " the utter exhaustion which only a neurasthenic personality can know." Mitch is described as being "stolid but depressed." Mitch even admits "I'm afraid you haven't gotten much fun out of this evening Blanche." and "I felt all the time that I wasn't giving you much-entertainment." At this point in the scene the viewer gets the impression that Mitch and Blanche are not compatible and as it continues we get the impression that Blanche and Mitch are very unlikely Bedfellows.
As the scene progresses the likelihood of Blanche and Mitch becoming an item oscillates. The chances begin low and begin to decline but by the end of the scene chances become extremely high. This happens as a result of Blanche's flirtatious character and in the confidence levels Mitch portrays in his conversation.
At the beginning of scene 6 Blanche and Mitch are not presented as being compatible or to have much have any chemistry between them. Blanche is an educated woman with an aristocratic upbringing where as Mitch is uneducated and working class. We can observe how Blanche is flirtatiously playing the 'hard to get game' (e.g. using words such as 'honey') and appears to be very confident and experienced when dealing with men. Mitch on the other hand does not seem so confident or experienced, nervously asking, "Can I - uh-kiss you - goodnight?"
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...a significant difference between the two. There is far less physical attraction between Blanche and Mitch and more of a need for companionship, love, and sincerity. As the play continues and we watch how Stanley slowly destroys Blanche, the question "Does physical brute force, such as that of Stanley, overpower and dominate over the non-physical emotional force such as that of Blanche?" This scene and comparison of the two relationships aids this argument.
Works Cited
Spoto, Donald. The Kindness of Strangers. Boston: Little, Brown and Company, 1985.
Szeliski, John T. von. Twentieth Century Interpretations of A Streetcar Named Desire. "Tennessee Williams and the Tragedy of Sensitivity". Ed. Jordan Y. Miller. New Jersey: Prentice-Hall, 1971.
Williams, Tennessee. A Streetcar Named Desire. Stuttgart: Phillip Reclam, 1988.
She is anithetical to him in the story be cause Mitch tries to make a serious relationship with her but he couldn't be cause they are both not right which makes them have problems and fights throughout the story. For example when Mitch tells Blanche "
Poe, Edgar A. "Short Stories: The Cask of Amontillado by Edgar Allan Poe." Short Stories: The
Blanche, a fading beauty, uses her sugary charm and soft southern ways to attract men. In comparison, Stanley "sizes women up at a glance, with sexual classifications" to "determine the way he smiles at them" (Williams, Street 29). Course and deliberately aggressive, he is a "survivor of the stone age" (Williams, Street 72). Despite their differences, they both possess a raw sensuality. In their first confrontation, Blanche's thick display of charm angers and attracts Stanley.
Tennessee Williams was one of the most important playwrights in the American literature. He is famous for works such as “The Glass Menagerie” (1944), “A Streetcar Named Desire” (1947) or “Cat on a Hot Tin Roof (1955)”. As John S. Bak claims: “Streetcar remains the most intriguing and the most frequently analyzed of Williams’ plays.” In the lines that follow I am going to analyze how the identity of Blanche DuBois, the female character of his play, “A Streetcar Named Desire”, is shaped.
Grant's task is to affirm that Jefferson is not a hog, but a man. The mission is doubly difficult because Grant isn't sure he knows what a man is. Besides not knowing what a man is, Grant doesn’t feel that he, a well educated man, should have to go and make Jefferson believe that he is not a hog; which shows the amount of arrogance Grant has about himself. Eve...
Neither Stanley nor Mitch was intelligent enough to comprehend that not everything is black and white. They perceived her as a deceitful whore. Stella chose her husband over her sister. Also, Mitch could not overlook her mistakes. Mitch focused on her flaws, which blinded him from seeing the beauty and love Blanche had to offer.
This gradual fall and loss of her sense of reality is truly tragic. Blanche is a person largely driven by the part of her that wants to be liked and be accepted. She cares greatly about how she is viewed and how she looks which is seen throughout the play. Even at the end when she’s living almost completely in the imaginations of her mind she asks Stella and Eunice how she looks before being taken away to an insane asylum. Tennessee Williams, the author of the play, uses all the conflict between Blanche and others, specifically Stanley, to show that fantasy is unable to overcome reality. Stanley and Blanche are both the epitomes of fantasy and reality. Stanley is a man focused on sexual drive, work, and fighting. He is exhibited as animalistic and strongly driven by his desires which is shown when he says, “Be comfortable. That's my motto up where I come from.” Stanley loves and searches after reality which is why he is so set on breaking down the facade he sees in Blanche. Blanche on the other hand is running from her reality and her past. Her fantasy of being high class and chaste is the exact opposite of her reality which is why she wants a life like that so badly. She wants marriage and stability, two things she was jealous of Stella having after arriving in New Orleans. Her fantasy she was building in her new life is shattered when Stanley is able to learn of her past and bring reality crashing down on her. Williams
A Streetcar Named Desire is an intricate web of complex themes and conflicted characters. Set in the pivotal years immediately following World War II, Tennessee Williams infuses Blanche and Stanley with the symbols of opposing class and differing attitudes towards sex and love, then steps back as the power struggle between them ensues. Yet there are no clear cut lines of good vs. evil, no character is neither completely good nor bad, because the main characters, (especially Blanche), are so torn by conflicting and contradictory desires and needs. As such, the play has no clear victor, everyone loses something, and this fact is what gives the play its tragic cast. In a larger sense, Blanche and Stanley, individual characters as well as symbols for opposing classes, historical periods, and ways of life, struggle and find a new balance of power, not because of ideological rights and wrongs, but as a matter of historical inevitability. Interestingly, Williams finalizes the resolution of this struggle on the most base level possible. In Scene Ten, Stanley subdues Blanche, and all that she stands for, in the same way men have been subduing women for centuries. Yet, though shocking, this is not out of keeping with the themes of the play for, in all matters of power, force is its ultimate manifestation. And Blanche is not completely unwilling, she has her own desires that draw her to Stanley, like a moth to the light, a light she avoids, even hates, yet yearns for.
Stella states that Blanche’s life has been heavily affected by the death of her husband, Allan. Blanche’s marriage “killed her illusions” which can be interpreted literally. Blanche states that she fell in love “all at once and much, much too completely,” however, her love was unrequited since instead of returning the love Blan... ... middle of paper ... ... o have experienced some sorrow,” which Mitch agrees with, thus revealing that he has been affected by the loss of this girl.
She looks for empathy in all the wrong places. She looks for it when with strangers, with Stanley, Mitch, and Stella. The tragedy of Alan’s death is a leading cause for Blanche’s desire for attention and empathy. After his death he becomes involved with the hotel “flamingo”. It is here where she mistakenly thinks that sex, is a form of empathy. This empathy causes her character to have a blackened image of how to gain empathy from others. Once she gets run out of the flamingo she attempts to gain attention from Stanley. “It 's mine, too. It 's hard to stay looking fresh. I haven 't washed or even powdered my face and here you are!” Blanche understands that Stanley is a man who can at least support his wife. She flirts with Stanley, in a desperate need to feel, safe and cared for. Stanley understands that Blanche is manipulative, and he does not give empathy towards her. The tragic Irony with Blanche is that she does not recognize true empathy when it is given to her, Mitch has a deep care for Blanche, to the extent that he is willing to marry her. “You need somebody. And I need somebody, too. Could it be—you and me, Blanche?” Mitch shows a great amount of compassion towards Blanche, but blanche cannot recognize this empathy and sees it more as an opportunity to manipulate him, which doesn’t turn out well in the end. Stella is the
F. Scott Fitzgerald’s The Great Gatsby is a tragic tale of love distorted by obsession. Finding himself in the city of New York, Jay Gatsby is a loyal and devoted man who is willing to cross oceans and build mansions for his one true love. His belief in realistic ideals and his perseverance greatly influence all the decisions he makes and ultimately direct the course of his life. Gatsby has made a total commitment to a dream, and he does not realize that his dream is hollow. Although his intentions are true, he sometimes has a crude way of getting his point across. When he makes his ideals heard, his actions are wasted on a thoughtless and shallow society. Jay Gatsby effectively embodies a romantic idealism that is sustained and destroyed by the intensity of his own dream. It is also Gatsby’s ideals that blind him to reality.
As Stanley continues torturing Blanche and draws Stella and Mitch away from her, Blanche’s sanity slowly dwindles. Even though she lied throughout the play, her dishonesty becomes more noticeable and irrational due to Stanley's torment about her horrible past. After dealing with the deaths of her whole family, she loses Belle Reve, the estate on which her and her sister grew up. This is too much for Blanche to handle causing her moral vision to be blurred by “her desperate need to be with someone, with ancestors for models who indulged in “epic fornications” with impunity, [Blanche] moves through the world filling the void in her life with lust” (Kataria 2). She also loses a young husband who killed himself after she found out he was gay when she caught him with another man. After that traumatic experience she needed “a cosy nook to squirm herself into because ...
Firstly, the reader may initially feel Blanche is completely responsible or at least somewhat to blame, for what becomes of her. She is very deceitful and behaves in this way throughout the play, particularly to Mitch, saying, ‘Stella is my precious little sister’ and continuously attempting to deceive Stanley, saying she ‘received a telegram from an old admirer of mine’. These are just two examples of Blanches’ trickery and lying ways. In some ways though, the reader will sense that Blanche rather than knowingly being deceitful, actually begins to believe what she says is true, and that she lives in her own dream reality, telling people ‘what ought to be the truth’ probably due to the unforgiving nature of her true life. This will make the reader begin to pity Blanche and consider whether these lies and deceits are just what she uses to comfort and protect herself. Blanche has many romantic delusions which have been plaguing her mind since the death of her husband. Though his death was not entirely her fault, her flirtatious manner is a major contributor to her downfall. She came to New Orleans as she was fired from...
Blanche is driven by her sexual desire but also wishes for stability and a fresh start instead. Blanche states “It was the other little familiarity that I felt obliged to discourage, I didn’t resent it!.. I was somewhat flattered that you desired me” (Williams 87). For the first time she doesn’t succumb to her body’s physical needs for her wish to be able to settle down with Mitch. If Blanche answered her body’s need for sex she would have killed her act of being a Southern belle looking for a suitor. This again brings out the close line between death and