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In the commencement of the play, Blanche is quickly described as a damsel in distress. She is portrayed as a wealthy woman “in a white suit with a fluffy bodice, necklace and earing of pearl, white gloves and hat…” (5). She resembles an embellished white moth. The fact that she is forced to live with her younger sister Stella and her domineering husband truly shows that Blanche is in a truly desperate situation. Her overall character is depicted as a traumatized woman that is in complete desolation. Experiences such as witnessing her family on a “...Long parade to the graveyard” (21). Being forced to live with your family until their tragic demise would emotionally and mentally torment anyone. She lives inside of her own world in which she…
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The primary noticeable difference between Stanley and Blanche are the worlds that they both come from. Blanche believes in an illusionary world of which the upper and lower class people are separated, education is valued, races are separated and purity is preserved. In contrast, Stanley comes from a patriarchal society, which is morally corrupt, sinful and amoral. In the opening scene, the stage directions “her expression is one of shocked disbelief. Her appearance is incongruous to this setting” conveys her difference in class and how Blanche already does not fit into this new world foreshadowing the end of the play when Blanche is pushed out of the new world. The dialogue “ they mustn’t have- understood- what number I wanted” highlights Blanche’s confusion as she arrives at Elysian Fields, which suggests that Blanche is entering into a world that she does not belong in. The use of the derogatory terms “negro”, “brown” and “one white and one coloured” all suggest that unlike in Blanche’s illusionary world, Stanley’s world, New Orleans does not separate races instead they intermingle. Throughout the play there are many references to animalistic qualities. Blanche is represented, as a “moth” of which is fragile and attracted to light, which leads to danger and death. Stanley is compared to a lion, a predator of power and strong…
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Willams successfully uses the imagery of animalism to exhibit stanley's primative actions, allowing us to see more of a villain in his character. He creates an intense atmosphere whereby Blanche is seeing the night as, "filled with inhuman voices, like cries in a jungle...", proposing Blanche's distant mind from sanity but also the ambience that Stanley may have formed this tense atmosphere which surrounds the two characters. Stanley displays primative behaviours by biting "his tongue which protrudes between his lips", which gives use the imagery of a snake observing his prey before attack. Stanley's connotations with primal actions are always interperated with him being the predetor, attacking the prey. Stanley attacking Blanche and raping her also gives us the impression that he is taking over her body; like he is marking his territory. The "rough house" treatment of Stanley towards Blanche suggest how the predetor is trying to attack, whislt the prey resists, fearing for their life. It may be interperated how Stanley wants Blanche to be resistant as it makes his victory more satisfying. .Williams also uses the setting of the bathroom to depict Stanley's victory over Blanche. The symbolism of the bathroom in previous scenes of the play was used as a sanctuary for Blanche to…
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Even from the first few scenes of ‘A Streetcar Named Desire’, we can see that Blanche DuBois is a complicated character; throughout the play she ignores warnings and breaks moral codes, and it is this that leads to her demise of character.…
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-Whereas Blanche comes from an old Southern family and was raised to see herself as socially elite, Stanley comes from an immigrant family and is a proud member of the working class. They meet one another in the socially turbulent postwar period in New Orleans, one of America's most diverse cities. Blanche and Stanley are polar opposites in several respects. Blanche repeatedly refers to Stanley and his world as brutish, primitive, apelike, rough, and uncivilized. Stanley finds this sort of superiority offensive and says so, but there is something primal and brutish about Stanley. By contrast, Blanche represents civilization on the decline. She speaks vaguely of art, music, and poetry as proof of progress, but reveals little true knowledge.…
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One might be led to believe that the constant transitions between various streetcars could possibly be symbolic for the unstableness that Blanche’s life provided for her. The main streetcar focused on in the play was named Desire, which furthers leads us to believe that this is referring to Blanche’s desire of genuine happiness. She represents a deeply embedded fixture, stuck in the past. She’s spent so much of her younger years, investing in temporary facets, until now that she is actually aging; Blanche wishes to appear younger than what she is. She is in great denial, wanting to reclaim and relive those miserable years of life that she could never get…
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Streetcar occupies a specific place and time in the American literary canon. Blanche finds herself adrift in the tough, yet endearing world of New Orleans in the mid to late 1940s. In Stella’s working class neighborhood, traversed by a streetcar named Cemeteries and a streetcar named Desire, there is a sort of…
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Throughout the play, Blanche is living a lie and existing in a fantasy. Blanche DuBois, who is lost and confused, lies to herself through the entire play. At the beginning, Blanche lies to her sister, Stella, about taking a break from her school teaching job, when in reality, she has…
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Blanche grow up on a large estate along with her sister, although unlike Stella, Blanche believes that her background and statues, which she no longer has, will gain her the control she so desperately seeks. But, the character Stanley gains control over her because of his has financial income which…
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When the play begins, Blanche is already a fallen woman in society’s eyes. Her family fortune and estate are gone, she lost her young husband to suicide years earlier, and she is a social pariah due to her indiscrete sexual behavior. She also has a bad drinking problem, which she covers up poorly. Behind her veneer of social snobbery and sexual propriety, Blanche is an insecure, dislocated individual. She is an aging Southern belle who lives in a state of perpetual panic about her fading beauty. Her manner is dainty and frail, and she sports a wardrobe of showy but cheap evening clothes. Stanley quickly sees through Blanche’s act and seeks out information about her past. The notion of death is apparent through Blanches maiden name, Grey, which suggests bleakness and unhappiness. Indeed we are introduced to the fact that behind…
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A Streetcar Named Desire, a play by Tennessee Williams, takes place in New Orleans in the mid-1940s. It follows the lives of Stanley Kowalski, Stella Kowalski, and Blanche DuBois and the story about a woman coming to visit her sister, which ends up going just as bad as any family reunion has ever gone. From the moment Blanche got to Elysium Fields, her and Stanley, Stella’s husband, appear as polar opposites and are constantly at war with each other. They never can agree on anything, are always arguing and shouting at one another, and want the loyalty of Stella all for themselves. Their constant power struggle can only end with one character the victor and the other leaving defeated. One of the main themes about conflict is that Stanley and Blanche are in a battle to win Stella and neither of them will give her up. However, Stanley and Blanche represent something bigger than two conflicting characters. Blanche represents the old south, with dying traditions whilst Stanley represents the new south where chivalry no longer exists and it 's every man for themselves and just like in real life, the old south is overcome by the new south.…
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At the beginning of scene one, the author suggests to the audience that Blanche’s sexual history is in fact the cause of her ruin. When she arrives at the Kowalskis’ Blanche tells them that they need to “take a street-car named Desire, and transfer to one called cemeteries, and ride six blocks and get off at—Elysian Fields!” This journey, the precursor to the play is there to allegorically represent the downfall of Blanche’s life. The Elysian Fields are described as the land of the dead in Greek mythology and in turn suggests that Blanche is in a depressive state. Blanche’s lifelong pursuit of her sexual desires has led to her eviction from Belle Reve, her…
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The play A Streetcar Named Desire revolves around Blanche DuBois; therefore, the main theme of the drama concerns her directly. In Blanche is seen the tragedy of an individual 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 final result is her destruction. This process began long before her clash with Stanley Kowalski. It started with the death of her young husband, a weak and perverted boy who committed suicide when she taunted him with her disgust at the discovery of his perversion. In retrospect, she knows that he was the only man she had ever loved, and from this early catastrophe evolves her promiscuity. She is lonely and frightened, and she attempts to fight this condition with sex. Desire fills the emptiness when there is no love and desire blocks the inexorable movement of death, which has already wasted and decayed Blanche's ancestral home Belle Reve.…
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Blanche seems eager to point out Stanley's faults to her sister whenever the opportunity arises. When Stella supposes that perhaps, Stanley is “common”,…
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The parallelism between death and desire is first exhibited promptly after the commencement of the play. In the play, an actual streetcar named “Desire” takes Blanche to the Kowalski’s. In Scene One, she explains to Eunice “they told [her] to take a street-car named Desire, and then transfer to one called Cemeteries and ride six blocks and get off at–Elysian Fields!” (Williams 6). William’s diction Desire, then Cemeteries, then Elysian Fields alludes to the corresponding sequence: sex, then death, then the afterlife. This seemingly linear progression blatantly proposes that desire ushers death.…
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