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Death of salesman themes essay
Death of salesman themes essay
Death of salesman themes essay
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Women in Tennessee Williams' A Streetcar Named Desire and Arthur Miller's Death of a Salesman
The part of Stella and Linda are both archetypal female figures in
that they follow the typical fictional role of the submissive wife and
mother. In A Streetcar Named Desire, Stella DuBois (renamed Mrs.
Stanley Kowalski) supports and forgives her husband, defending him
against any criticism. Likewise, in Death of a Salesman, Linda - the
only female character with any import - is a meek, timid figure around
her husband. This weakness is underscored by the sentence structure
and diction that each character uses when in conflict with their
husband. As both Tennessee Williams and Arthur Miller are men, it can
be seen that their female characters tend to be what men would desire
in women, without giving a too-accurate portrayal of an actual person.
Stella and Linda are both symbols of the deferential wife and mother,
not convincing portraits of women.
Stella and Linda are both thought of only in relation to the other
characters. They exist to support their husbands and defend them from
other characters. Both Stella and Linda attempt to blind themselves to
their husbands' flaws, and apologize to other characters for their
husbands' actions. When Stanley gets drunk, smashes the radio and
window, and hits Stella, Stella must apologize to Blanche for
Stanley's behavior: "He's half-drunk!"; "He didn't know what he was
doing... He was as good as a lamb when I came back and he's really
very, very ashamed of himself." All that Stella can do is make excuses
for his behavior, not blaming him for anything: "People have got to
tolerate each others' habits, I guess." It is in this scene (4) that
the audience truly sees Stella...
... middle of paper ...
...laces, especially in scene 3: "All of you
- please go home! If any one of you have one spark of decency in
you-"; "You lay your hands on me and I'll-". This is realistic for
some women who are submissive to their husbands, more so than perhaps
the characters' actions, but the portrayal of the women characters as
weak and wavering spouses is not realistic when it is the only female
element.
There are no strong female characters in either A Streetcar Named
Desire of Death of a Salesman. Stella and Linda are dutiful wives,
inferior to their husbands, who forgive and support them in spite of
abuse. This is shown by their change in sentence structure and
diction. Perhaps some males desire unconditional support and surrender
from their wives, but to portray all females as weak women at the
every beck and call of their husbands is unrealistic and inaccurate.
Many different depictions of gender roles exist in all times throughout the history of American culture and society. Some are well received and some are not. When pitted against each other for all intents and purposes of opposition, the portrayal of the aspects and common traits of masculinity and femininity are separated in a normal manner. However, when one gender expects the other to do its part and they are not satisfied with the results and demand more, things can shift from normal to extreme fairly quickly. This demand is more commonly attributed by the men within literary works. Examples of this can be seen in Tennessee Williams' “A Streetcar Named Desire”, where Stella is constantly being pushed around and being abused by her drunken husband Stanley, and also in Charlotte Perkins Gilman's “The Yellow Wallpaper”, where the female narrator is claimed unfit by her husband as she suffers from a sort of depression, and is generally looked down on for other reasons.
As women's studies programs have proliferated throughout American universities, feminist "re-readings" of certain classic authors have provided us with the most nonsensical interpretations of these authors' texts. A case in point is that of Kathleen Margaret Lant's interpretation of Tennessee Williams' A Streetcar Named Desire in her essay entitled "A Streetcar Named Misogyny." Throughout the essay, she continually misreads Williams' intention, which of course causes her to misunderstand the play itself. Claiming that the play "has proved vexing to audiences, directors, actors, readers, and critics" (Lant 227), she fails to see that it is she herself who finds the play vexing, because it does not fit nicely into the warped feminist structure she would try to impose upon it.
In Tennessee Williams’ play A Streetcar Named Desire, main character Blanche Dubois to begin with seems to be a nearly perfect model of a classy woman whose social interaction, life and behavior are based upon her sophistication. The play revolves around her, therefore the main theme of drama concerns her directly. In Blanche is seen the misfortune of a person caught between two worlds-the world of the past and the world of the present-unwilling to let go of the past and unable, because of her character, to come to any sort of terms with the present.
The white women in Eugene O’Neill’s play All God’s Chillun Got Wings and The older sister in Tennessee Williams’ play A Streetcar Named Desire both struggle mentally with reality and fantasy. Ella Downey, a desperately unstable, racially aware woman, struggles to overcome her insecurities, and is mentally torn between reality and fantasy. Like Ella, Blanche Dubois, a disillusioned woman, finds herself struggling mentally; unable to overcome reality, refuses to accept things are what they are, retreats to the fantasies of her mind.
The syllable of the syllable. At this point, he is very drunk. Blanche, distracting Stanley by listening to the radio, instigates him to grab it off the table and toss it out the window. Stella, in a state of panic, tells everyone to go home, which angers Stanley so he chases after her and hits her. This type of behavior is not normal of any human being involved in any relationship.
In Williams’ Streetcar Named Desire the characters represent two opposing themes. These themes are of illusion and reality. The two characters that demonstrate these themes are Blanche, and Stanley. Blanche represents the theme of Illusion, with her lies, and excuses. Stanley demonstrates the theme of reality with his straightforward vulgar ness. Tennessee Williams uses these characters effectively to demonstrate these themes, while also using music and background characters to reinforce one another.
Tennessee Williams was born Thomas Lanier Williams in 1911. As a successful playwright, his career was greatly influenced by events in his life. He was noted for bringing the reader "a slice of his own life and the feel of southern culture", as his primary sources of inspiration were "the writers he grew up with, his family, and the South." The connection between his life and his work can be seen in several of his plays.
In Tennessee Williams' play, A Streetcar Named Desire, Williams uses the suicide of Blanche's husband to illuminate Blanche's insecurities and immoral behavior. When something terrible happens to someone, it often reveals who he or she truly is. Blanche falls victim to this behavior, and she fails to face her demons. This displays how the play links a character’s illogical choices and their inner struggles.
Stella and Blanche are two important female characters in Tennessee Williams' "poetic tragedy," A Streetcar Named Desire. Although they are sisters, their blood relationship suggests other similarities between the two women. They are both part of the final generation of a once aristocratic but now moribund family. Both exhibit a great deal of culture and sensitivity, and as a result, both seem out of place in Elysian Fields. As Miller (45) notes, "Beauty is shipwrecked on the rock of the world's vulgarity."
She struggles with Stanley’s ideals and shields her past. The essential conflict of the story is between Blanche, and her brother-in-law Stanley. Stanley investigates Blanche’s life to find the truth of her promiscuity, ruining her relationships with Stella, and her possible future husband Mitch, which successfully obtain his goal of getting Blanche out of his house. Blanche attempts to convince Stella that she should leave Stanley because she witnessed a fight between the two. Despite these instances, there is an essence of sexual tension between the two, leading to a suspected rape scene in which one of their arguments ends with Stanley leading Blanche to the bed.
The woman in Alice Walker’s The Color Purple and the woman in Tennessee Williams’ A Streetcar Named Desire both struggle with discrimination. Celie, a passive young woman, finds herself in mistreatment and isolation, leading to emotional numbness, in addition to a society in which females are deemed second-rate furthermore subservient to the males surrounding them. Like Celie, Blanche DuBois, a desperate woman, who finds herself dependent on men, is also caught in a battle between survival and sexism during the transformation from the old to the new coming South.
Tennessee Williams gives insight into three ordinary lives in his play, “A Streetcar Named Desire” which is set in the mid-1930’s in New Orleans. The main characters in the play are Blanche, Stanley, and Stella. All three of these characters suffer from personalities that differentiate each of them to great extremes. Because of these dramatic contrarieties in attitudes, there are mounting conflicts between the characters throughout the play. The principal conflict lies between Blanche and Stanley, due to their conflicting ideals of happiness and the way things “ought to be”.
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.
Tennessee Williams is recognized as being one of America’s top playwrights during the twentieth century. His play A Streetcar Named Desire, written in 1947, tells the tale of two sisters and their struggle to find happiness. The Glass Menagerie, published in 1945, is a memory play, which profoundly impacted Williams’s career. Suddenly Last Summer, published in 1993, is a one-act play about a young girl’s horrifying experience while traveling abroad. All of these plays incorporate aspects of Williams’ own life and portray dysfunctional characters.
A Streetcar Named Desire, written by Tennessee Williams, is a social realism play that takes place during the 1940’s in New Orleans. Williams uses this play to directly question inherent ideologies of human nature. He uses plot, narrative techniques, motifs, and contrasting values to directly challenge the reader’s perspective.