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The moral of a streetcar named desire
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A common saying in our society is “It’s not about the destination, but the journey,” but for many, it’s only about the destination. Commonly, that destination tends to be happiness, content of one’s mind and joy. With this in mind, can we live in a constant state of happiness? Is it possible to achieve happiness without compromising certain aspect of our lives? In the modern play, A Streetcar Named Desire, written by Tennessee Williams, Blanche Dubois is a schoolteacher from Belle Reve, who moves to New Orleans to live with her sister, Stella Kowalski, and brutish brother-in-law, Stanley Kowalski. After suffering traumatic events and a troublesome reputation, Blanche is on the pursuit of happiness. Being one of insecurity, she commonly covers herself in illusions to compose a …show more content…
better reality for herself and to achieve her heart’s content: peace of mind. Ironically, the opposite happens, this characteristic leads her to her downfall and deterioration of her mental health.
Tennessee Williams develops the idea of how an individual would take drastic measures to ensure happiness which can lead them to their downfall; endangering too much of one’s self in order to pursue long term happiness caused severe consequences to unfold and ultimately compromising their happiness in the end.
Blanche Dubois has suffered many losses in her life, such as the downfall of Belle Reve. Translated from French, Belle Reve stands for “a beautiful dream,” symbolizing Ms.Dubois sanctuary. Typically, during a dream, people are joyful and at ease. As a result, when Belle Reve was destroyed, her happiness was eradicated. Furthermore, when she was 16, Blanche was married to Allan Gray, which left a hefty strain on her identity. She had made the mistake of being dazzled by his entry into her life, describing her love as a “blinding light on something that has always been in the shadow.” During their affair, a crude secret emerges from blazing light which had blinded her; Allan Gray had married her as a way to hide his homosexuality. Forever instilled into her subconscious mind,
Blanche made a cruel remark about Gray’s homosexuality that ended with his imminent suicide. Consequently, she suffers the aftermath of this decision, constantly imagining the sound of the gunshot that had killed her beloved, and experiencing hallucinations, such as the one that ensued her horrible reputation; in a way to relive her husband and hunt for serenity, she has a sexual relationship with a 17-year-old student,which leads to her exilement from Laurel. These atrocious events lead her to a life of a alcoholism in a way to achieve well-being. Alcohol is a common therapy for numerous others, drinking to fill the void inside and to achieve a facade of happiness. Additionally, by marrying Blanche hopes to escape poverty and the bad reputation that haunts her; achieving this dream, she hopes, will grant her happiness. When she arrives in New Orleans, she is described as “a delicate beauty that must avoid a strong light,” and her outer appearance “suggests a moth.” Blanche attempts to align her image with a pure, virginal women. The description suggests her desire to shun the light; just as a moth dies when it gets too close to the flame, Blanche will die when she is brought out into the light. Since light is symbolic of the truth, it will destroy the illusions she carries with her. DuBois has been shielding herself from the real world ever since, believing her fantasy will lead her to a life of happiness. On the other hand, Stanley Kowalski is already content with his life, before Blanche made an appearance at his home, who ruins his male dominant environment. This destroys his happiness, making his ultimate goal to destroy his sister-in-law’s happiness.
Identity in Contemporary American Drama – Between Reality and Illusion 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. Firstly, we learn from an interview he gave, that the character of Blanche has been inspired from a member of his family.
Isn't it true the relationship between Stella and Stanley is praiseworthy, since it combines sexual attraction with compassion for the purpose of procreation? Isn't it true that as opposed to Stanley's normalcy in marriage, Blanche's dalliance in sexual perversion and overt efforts to break up Stanley and Stella's marriage is reprehensible? Isn't it true that Stella's faulty socialization resulting in signs of hysteria throughout the play meant that she probably would have ended her life in a mental hospital no matter whether the rape had occurred or not?
Scene One of A Streetcar Named Desire What is the dramatic significance of scene one of the play A Streetcar named Desire? Scene 1 of this play has great dramatic significance. In this essay, I will be looking at key points throughout the scene that reveal the key features of the plot, characters, theme and imagery plus how it is used to give the audience a taster for what is to come.
Blanche could not accept her past and overcome it. She was passionately in love with Alan; but after discovering that he was gay, she could not stomach the news. When she revealed how disgusted she was, it prompted Alan to commit suicide. She could never quite overcome the guilt and put it behind her. Blanche often encountered flashbacks about him. She could hear the gun shot and polka music in her head. After Alan’s death, she was plagued by the deaths of her relatives. Stella moved away and did not have to deal with the agony Blanche faced each day. Blanche was the one who stuck it out with her family at Belle Reve where she had to watch as each of her remaining family members passed away. “I took the blows in my face and my body! All of those deaths! The long parade to the graveyard! Father, Mother! Margaret, that dreadful way! You just came home in time for the funerals, Stella. And funerals are pretty compared to deaths. Funerals are quiet, but deaths—not always” (Scene 1, page 1546). Blanche lost Belle Reve because of all the funeral expenses. Belle Reve had been in her family for generations, and it slipped through her fingers while she watched helplessly. Blanche’s anguish caused her loneliness. The loneliness fueled her abundance of sexual encounters. Her rendezvous just added to her problems and dirtied her rep...
Though the “primitive,” rituals described in Schechner’s article diverge from the realism found in Tennessee Williams’ A Streetcar Named Desire, the same “reactualization” process exists in his work. Williams’ Streetcar focuses on the “mock battle” or complete contest between the generational cultures symbolized by Blanche Dubois and Stanley Kowalski’s characters. Blanche, representative of the fallen southern aristocracy, searches for sensitivity and kindness in the new world of Stanley Kowalski, the modern labor class. In Blanche’s search for safety, the semiotic theatrical qualities of the play become a ritualistic “clash of the titans” as both Blanche and Stanley fight for domination and control over the future generations realized in Stella’s womb. Yet the tragic dethronement of previous generations - represented by Blanche’s exile from the community and her subsequent departure for the asylum – leaves the audience without an Aristotlean catharsis. Rather, the classically regenerative “sacrifice of the hero…is gone; what we have instead is a resignation to general guilt,” (Vlasopolos, 323), as Williams’ titanic “unmasking” dies away rather than resolving the conflict. With such little hope offered in Williams’ dénouement audience members frequently question Streetcars’ resolution, finding no reactualizing forces in the death characters’ masks. However, the answer to this question lies in the mythological characterizations Williams creates in the battle between Stanley and Blanche. By examining the basic semiotic properties Williams foregrounds in both Blanche and Stanley’s titanic characters the audience may understand the moral force actualized in A Streetcar Named Desires as mythic ritual.
...es and thinks that her hopes will not be destroyed. Thirdly, Blanche thinks that strangers are the ones who will rescue her; instead they want her for sex. Fourthly, Blanche believes that the ones who love her are trying to imprison her and make her work like a maid imprisoned by them. Fifthly, Blanche’s superiority in social status was an obscure in her way of having a good social life. Last but not least, Blanche symbolizes the road she chose in life- desire and fantasy- which led her to her final downfall.
She desires a fairy tale story about a rich man coming and sweeping her off her feet and they ride away on a beautiful oceanic voyage. The most interesting part about Blanche is that through her unstable thinking she has come to believe the things she imagines. Her flashy sense of style and imagination hide the truly tragic story of her past. Blanche lost Belle Reve but, moreover, she lost the ones she loved in the battle. The horror lies not only in the many funerals but also in the silence and the constant mourning after.
Blanche consider herself as a Southern Belle, despite the changing of her status. Her life changed when she is facing financial difficulty and she has to pay for the cost of the funeral of her relatives.Blanche has lost Belle Reve
Tragedy is when something is lost in a terrible manner. The tragedy of a character named Blanche is the eventual loss of her mind and of her reality. Events throughout the tragic play A Streetcar Named Desire are what lead to Blanche become adrift in the seas of dreams within her head. Along her path to becoming this way Blanche does not only suffer herself, but causes the suffering of others around her. The author of this play uses Blanche as an instrument to carry out the tragic vision of the play itself. You see tragedy within herself and the people she comes into contact with throughout the play.
Blanche claims that Belle Reve was lost because the men of her family “exchanged the land for their epic fornications”(43). Her relatives acted on their biological urges and lost everything. Lastly, Blanche’s husband, Allen Grey committed suicide because his sexuality was not accepted.“Then I found out. In the worst of possible ways. By coming into a room I thought was empty- which wasn’t empty, but had two people in it…” (95). Blanche reveals this when telling Mitch about her husbands homosexuality. “He’d stuck the revolver in his mouth, and fired- so that the back of his head had been- blown away....It was because- on the dance-floor- unable to stop myself- I’d suddenly said “I know. I know! You disgust me…”(96). Blanche says this in reference to her husbands suicide. Blanche saying “you disgust me” speaks to the general thoughts on homosexuality in the 1940’s/50’s. If it was known that someone was a gay they would risk being fired, public ridicule, or even jail time. Blanche’s husband killed himself rather than live in a world where he could not express his deepest desires and still be accepted in
This can be symbolized by light. Blanche hates to be seen by Mitch, her significant other, in the light because it exposes her true identity. Instead, she only plans to meet him at night or in dark places. Also, she covers the lone light in Stella and Stanley’s apartment with a Chinese paper lantern. After Blanche and Mitch get into a fight, Mitch rips off the lantern to see what Blanche really looks like. Blanche angrily replies that she’s sorry for wanting magic. In the play, Blanche states “I don’t want realism, I want magic! [..] Yes, yes, magic! I try to give that to people. I misrepresent things to them. I don’t tell the truth, I tell what ought to be truth. And if that is sinful, then let me be damned for it!”(Williams 117). Blanche wants to escape reality, but this only leads to her self-destruction. It is the men in her life and past experiences that is the main cause of her self - destruction. One of these being the death of her young love, Allen Grey. During their marriage, Blanche, attached to the hip to this man, walked in on him with another man. She then brought the incident up at a bad time; soon after, Allen took his own life, which I believe was the first step to this so called “self-destruction. Blanche could never forgive herself of this. This is the truth of her past, therefore,
2. What causes Mitch and Blanche to take a "certain interest" in one another? That is, what is the source of their immediate attraction? What seems to draw them together? What signs are already present to suggest that their relationship is doomed/problematic?
The seven deadly sins are well established as being detrimental; nevertheless, humanity naturally gravitates towards the inhuman. The life of Blanche DuBois, the protagonist of Tennessee Williams’ play, A Streetcar Named Desire is derailed by lust: the lechery of her ancestors causes the loss of the family home, her husband’s lust leads to suicide, and her own sexuality forces her to leave her occupation and her hometown in disgrace. After taking the streetcars Desire and Cemeteries, Blanche seeks refuge from reality in the home of her sister Stella and her masculine and somewhat barbaric husband Stanley. Despite her attempts to start an unblemished life with a new persona and love interest, Mitch, Blanche’s dark past begins to resurface after
There are 3 major themes in the play A Streetcar Named Desire, the first is the constant battle between fantasy and reality, second we have the relationship between sexuality and death, and lastly the dependence of men plays a major role in this book.
In the story Alice in Wonderland, the world of Wonderland represents the main antagonist Alice’s fantasy that is fueled by her desire of staying in the past and remaining a child. Ultimately, she fears the changes that come with becoming an adult; thus, she resists reality and embraces the lies of her fantasy of staying a child by staying in Wonderland. Furthermore, this is similar to how the main antagonist in A Streetcar Named Desire, Blanche DuBois, resists reality by lying to herself and everyone she knows because she also fears reality. Unlike Blanche, Alice soon realizes that by embracing her fantasies and desires she would be led down a path of destruction because fantasy and reality are incompatible. Likewise, Tennessee Williams covers the topic of the incompatibility of fantasy and reality in A Streetcar Named Desire by making the character Blanche DuBois, which represents fantasy, resist and have a conflict with the character Stanley Kowalski, which represents reality, because he wants to convey that it is natural to fear and resist reality and take solace in desire and fantasy.