Character Analysis Of Blanche Dubois

The character of Harold Mitchell fundamentally illustrates the consequences of deceit and illusion in Blanche Dubois’ life. In her quest to restore respect in society, Blanche is impelled to pursue the hand of Mitch. Moreover, the significance of selecting Mitchell as her man revolves around the fact that he conforms to the collective consciousness of modern society. Her idiosyncrasies and unorthodox presence in society dawn upon her as she makes haste to improve her general perception from those surrounding her. Consequently, Mitchell plays an instrumental role in preventing Dubois’ descent into insanity because he bridges the gap between her intrinsic self and her false persona by serving as an empathetic figure capable of understanding

The fact that she resides in the home of Stanley Kowalski, a man who is a product of post-war America, plays a significant role in exacerbating the conflict between both individuals. Additionally, it illustrates the dichotomy between the Old South and post-war America, which serves to emphasize the magnitude of the tension of opposites in Dubois’ psyche. Moreover, Kowalski can see through Dubois’ thinly veiled pretense of vulnerability and innocence as she encroaches upon his domain and makes an attempt to assert her dominance over Kowalski. As one who retains the Southern Belle archetype, Dubois experiences confusion above all as she cannot comprehend the lack of respect and servitude from others, especially Kowalski. Therefore, it Dubois finds it incumbent upon herself to reinstate this missing fragment of the Southern Belle. Furthermore, Kowalski is a self-proclaimed “king” (Williams 107) who values his patriarchal hegemony as reinforced by his notion that “Every Man is a King” (Williams 107). Additionally, Kowalski serves as the antagonist figure to the ideal gentlemen of a Southern Belle, contriving sentiments of disdain within Blanche. Because Dubois has constructed an illusory reality for herself, she perceives any offense made against her as a diatribe against her utopian world, therefore the totality of her existence. Her shadow manifests itself throughout much of the play, but its emergence stems from this very power struggle between both individuals. In order to restore her sense of superiority in the Kowalski household, Dubois resorts to playing the victim whilst simultaneously victimizing others in her pursuit to topple Stanley Kowalski from his throne. Dubois perniciously creates