This extract is taken from Scene 9 of A Streetcar Named Desire and this scene begins with Blanche listening to the “Varsouviana”, and it abruptly ends when Mitch arrives. He is visibly drunk and walks right past her into the house. Blanche then begins asking about his mother but quickly changes the subject and the “Varsouviana” begins playing again, and Blanche tries to explain to Mitch the significance of the gunshot sound, but he ignores her. In this extract however, we see Mitch, confronting Blanche about her lies and life in Laurel.
Throughout the extract the theme of reality vs fantasy is very present as Blanche considered Mitch to be her fairy tale ending and her prince charming but in this extract that all ends. In the beginning of
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In scene 9 however, we see this contrast disparaging. In regards to their use of language, Mitch uses slang such as “malarkey” (22), which is indicative of less education however Blanche later on says “rub-a-dub-dub, three men in a tub!” (36), and this is very unusual for her as she always acts proper and with an air of sophistication. Williams uses this change in language as a way to show that Blanche’s facade is coming down and she is more vulnerable now, especially in front of Mitch, whom she always tried to look her best and that based on her actions and life, she associates more with the working class. Moreover, when Mitch talks about getting the information of Blanche’s life in Laurel from the merchant Kiefaber, Blanche’s immediate reaction is to discard his credibility by vocalizing how crudely he treated her. This links to her inability to stop lying, even in this moment where she is confessing as it goes against what she believes, which is that she is of a higher class than this men. In line 36 she describes the “tub” the men are in as “such a filthy tub” (36) and the word “filthy” has connotations of more working and lower class jobs and connects to the motif of bathing as she is trying to cleanse herself of her horrid past, but this men are bringing it back with them into the tub. Williams creates these opposite lifestyles and social statuses as it gives us an insight into how different Blanche’s life has turned out, yet she can’t seem to let go of the past and her social status, which links to Williams’ mother’s inability to accept her different social status when they moved
(TH)In Tennessee Williams’ A Streetcar Named Desire the main character Blanche DuBois descends into total madness.(A1) Throughout the entire play blanche hears the Polka she heard when her husband died.(A2) Near the end of the play Blanche remarks “The Varsouviana! The polka tune they played when Allan-
Her Otherness and incongruity in the lower-middle class New Orleans neighbourhood are apparent from the moment she enters. At the beginning of the play, the inhabitants of Elysian Fields enjoy themselves in some earthly, bawdy activities. Eunice and the coloured woman are chatting “on the steps of the building” (3), making ribald jokes about Stanley’s “package” (4). Mitch and Stanley are going to the bowling club while Stella rushes to join them (4-5). Then Blanche, “daintily dressed in a white suit with a fluffy bodice, …, white gloves and hat” (5), the very image of a Southern gentlewoman, steps into the scene.
It is what is haunting Blanche’s life, it is what has made her mentally unstable. Throughout the play, she has been hiding her past from people so she looks like
Blanche’s final, deluded happiness suggests that, to some extent, fantasy is a vital force in every individual’s experience, despite reality’s inevitable triumph. This refers to her reality of how Mitch had came over to apologize to her, and she tells Stanley that she turned him down. This lie backfired, since Stanley knew exactly where Mitch was at this time. As well as Stanley saw through Blanches delusion of how she has received a wire, from Shep Huntleigh, inviting her to go with him down to the Caribbean cruise, in which Stanley later shuts down as
Throughout Tennessee William’s ‘A Streetcar Named Desire’ and Sylvia Plath’s ‘The Bell Jar’ feminine ideals of appearance are associates with ablutions and bathing. This is due to the view of water having renewing properties, the mental health associations of bathing within both texts, and the patriarchal view of feminine appearances. In William’s and Plath’s literary works, water is depicted as having renewal properties in the central feminine characters of both plots. In the character of Blanche DuBois this is most notable when she exclaims, “Oh, I feel so goof after my long, hot bath, I feel so good and cool and – rested!”. Blanche’s frequent baths, along with the excessive amount of time spent in the bathroom within the play, exemplify her attempts at purifying herself from the events of past and present.
In Scene 10, she deviously claims that she has just received a telegram from the millionaire, Steph Huntleigh, to explain why she is dressed up. At first, Stanley plays along, but once Blanche musters up the audacity to say that Mitch returned to their apartment seeking repentance, Stanley draws the line. He calls her out for her fictitious tales of her past, and states, “We’ve had this date from the start,” just before he maliciously rapes Blanche. Their natures root in primal, animalistic instincts, Stanley like a dirty hog, open and free concerning his sexuality, Blanche like a fox, sly and deceitful. Despite her incessant attempts to destroy her past, Blanche is unable to stop their sexual connection as she has had so many other men.
Williams uses the expressionist technique “The ‘Varsouviana’ is filtered into weird distortion, accompanied by the cries and noises of the jungle” to parallel Blanche’s inner mind and depicts Blanche’s deranged mental state after Stella’s betrayal. The imagery ‘Lurid reflections appear on the walls in odd, sinuous shapes’ highlights her mental turbulence and the stage directions ‘mysterious voices behind walls, as if reverberated through a canyon of rock…the echo sounds in threatening whispers’ heightens tension, positioning the audience to witness the overwhelming fear and exaggeration of her senses, further emphasising the detrimental impact Stella’s decision made. The Streetcar Named Desire also examines the influence that a person’s social standing can have. Stanley’s statement in scene 2 ‘The Kowalskis and Dubois have different notions’ indicates their social upbringing has influenced the way they think, hence disrupting their connection and loyalty towards one another. The use of their family name is metonymic for their ancestry and social standing, addressing the barriers derived from a social hierarchy which have affected their relationship.
Playwright Tennessee Williams once said “a symbol in a play has only one legitimate purpose which is to say a thing more directly and simply and beautifully than it could be said in words”. He seems to take his own advice to heart when writing such a thought provoking play as A Streetcar Named Desire. While Williams makes extensive use of symbols in Streetcar, the use of animals and animal-like characteristics as a symbol are constantly used to define Stanley Kowalski’s character and convey his desires as primal and ferine. Stanley has the first line in the play and is immediately characterized by Williams with the use of his stage direction “bellowing” (Williams 244; sc. 1). Like a wild animal, Stanley has a desire for unrefinement and
Throughout all of these encounters, Blanche still maintains a mirage of innocence and purity. Having grown up in a society that requires her to suppress her desire, she hides it from those around her, and attempts to maintain her sense of entitlement and social status. She plays the role of the person she would like to be, and instead of telling the truth she tells “what ought to be. Instead of embracing her sexuality, she pushes it deep down. “After all, a woman’s charm is fifty percent illusion”.
Blanche’s personality makes her live in the past acting as a “southern belle” and believing millionaire Shep Huntleigh will marry her unfortunately for Blanche living in the past meant she ended up in a state institution. Stella is a good example of past and present intertwined as he past was living in Belle Reive a plantation as a “southern belle” and now her present is in New Orleans and married to a husband who abusive. The character of Mitch a hard worker whom looks after his ill mother seems to the reader as a decent person with past and present intertwined personality he is respectful at the start to win Blanche
And if that is sinful, then let me be damned for it!” Blanches magic is seen through her illusions and delusions. In Blanches world Mitch doesn’t fit however she has reached a point of intimacy by being honest about her first husband and the guilt she endures as she begins to share the painful moment of her life with him. Stanley’s intrusion ruins her plans of marriage with Mitch and yet again she had to retreat in the world of her delusions. Stanley who represents realism in this novel and play pops Blanche’s illusion bubble through seeing the realism in scene ten
Not only has Tennesse Williams portrayed Stella and Blanche to be seen as delicate and dependent, our own society has created this image but this not only affects how individuals see themselves but affects relationships immensely. Tennessee Williams reinforces the stereotype in which women are often the victims of unfortunate fate within the usage of the character Blanche. Throughout the whole play, we have witnessed Blanche being on the bitter end of life's miseries as she has encountered the tough loss of Belle Reve, dealing with her ex-husband's suicide and the loss of her relationship with Mitch. Arguably, the expectations and beliefs of women were either to be a housewife or a mother, whereas Blanche shows neither, as a result of automatically feeling out of place possibly leading to her downfall. Blanche was constantly fantasizing about the traditional values of a southern gentlemen, proving her dependence on this sex.
Stanley continues to impose his reality onto Blanche, which causes her more anxiety relying more and more on herself to create more of an illusion by creating an admirer for herself, saying that she ended it with Mitch because she does not deserve “deliberate cruelty”, and crating this alter ego for herself as being pure. While Stella is in the hospital, he and Blanche are left alone for the night as she continues bragging about her admiration coming from Sheep Hunt Leigh and how she just got a wire from him. Stanley catches her in her life, finally tearing apart Blanche's illusions. Although Stanley has been a threat to her through his suspicion and empowering masculinity over her, the last scene is where he finally takes final control over her, or symbolically where reality has a final triumph over her illusions. While catching her in the midst of her lies she reveals to Blanche that “[he’s] been on to [Blanche] from the start!”
“[She springs up and crosses to it, and removes a whiskey bottle. She pours a half tumbler of whiskey and tosses it down. She carefully replaces the bottle and washes out the tumbler at the sink]”(1.71) Blanche tries to separate herself from reality when she drinks, trying to forget and escape her troubled past. Being in a new environment is unsettling.
III. Literary Device- Foreshadowing On page 111, Blanche was talking to Mitch about her current living conditions and she described to him the behavior of Stanley. Blanche said "It 's really a pretty frightful situation.