Conflict In A Streetcar Named Desire

Conflict is one of the most basic elements of natural human behavior. Conflict, from a literary standpoint, serves its purpose to create tension within a story, which as a result keeps readers interested and engaged. Whether the conflict is with another person, with nature, or within yourself, it is ubiquitous and unavoidable. In Stephen Crane’s The Red Badge of Courage, the struggles that Henry faces help to give depth and meaning to the story, as well as develop Henry as a character. In the novel, conflict is used to show the reality of war and the effect it can have on a person.

All humans in the world have the urge of need/want in life, whether that goal is reached by accepting one's consequences and persevering through all the hardships or avoiding the difficult obstacles to receive that temporary satisfaction. In Macbeth by William Shakespeare, it is shown that greed and ambition are very powerful forces that may destroy all those that are around one's former self through the usages of Literary devices. Symbols which represents change in the world of Macbeth, the irony in characters beliefs, and subtle differences between characters throughout the play. In Macbeth, Macbeth can be paired up with another character to show their differences throughout the play. One character that is paired up with Macbeth to show

Desire is a well-known trope in Shakespeare’s A Midsummer Night’s Dream. The four lovers and their magically caused mishap is one of the plays main scenes. However, even though sexual desire is found in every act, it isn’t the only type of desire found within the play. In addition to sexual desire, we find a desire for utter and complete control, which is held most notably by Oberon, as well as the desire for chaos. Puck is a character recognizable by those who study mythology by his mischievous nature and tendency to play tricks on those unfortunate enough to slight him.

We are told in the stage directions. These distinctly visual techniques clearly illuminate the horrors of war for the audience. Perhaps the most poignant example of the horrors of war concerns Sheila’s sacrifrice for Bridie. From the outset of the play, Misto uses the dramatic technique of tension between the two characters to indicate there is something [between them which has been] unresolved. Tension is built throughout the first act through the

In any play, book or story there is always a character or two that are looked down on and seen as "the bad guy." Despite the fact that these characters are the antagonists of the story, they often have a significant role that allows the plot to advance. In Romeo and Juliet and Anne Frank, Tybalt and the Nazi party are the main antagonists in each play. Even though their presences is different in each play, they are portrayed in distinct scenarios and conditions, they share several qualities that pull them closer together and define their significant roles as antagonistic characters. Usually, first impressions of characters are what audiences remember the most.

Blanche, having gone to Elysian Fields seeking refuge after tarnishing her reputation, wants to live the fantasy of being a beautiful young woman with no dark secrets to hide, and continuously lies to do so. Stanley seemingly hates lies and anything that distorts reality, as he unveils the truth of all of Blanches lies and tells those close to her (Stella and Mitch) as soon as he knows. Their conflict ultimately leads to the characters knowing of her past, Blanche being driven insane, and taken to a mental facility. If it hadn’t been for Stanley, Blanche’s lies most likely would’ve remained unknown, and her fantasy never crushed. In John Erman’s adaption of A Streetcar Named Desire, the theme of fantasy versus reality is shown through many devices, such as music, lighting, costumes, other common themes, and the main conflict.

Through the predominant influences of certain characters, inconsistency of decision making, and secretiveness amongst the characters, these events quickly lead to the grievous incident of the play. All the way from past hatred and persuasive friends, to emotionally driven decisions such as Romeo’s desire to be married and his vengeance, the play concluded with potions that provoked counter outcomes. Romeo and Juliet displayed the risks they were willing to take in the name of love, but in the end, poor choices took responsibility for the continuous occurrences that lead to dreadful ends; however, opposed to the idea of fate, or a stronger force guiding the character’s actions. With this, the play closed with the poisonous idea of the love that Romeo and Juliet shared, including all that they would sacrifice to have a chance at a life

An old English idiom goes, “do not judge a book by its cover”, the meaning being that things are often more complex than how they appear. Contrary to this opinion, titles of a work frequently give insight into the basis of the composition. Tennessee Williams, a renowned playwright, often went against this standard, choosing instead to use complex titles with symbolic meanings as opposed to purely plot-based titles. Two of his most prolific plays A Streetcar Named Desire and Cat On a Hot Tin Roof both have titles that describe the metaphoric relationship to the main characters in their plays. The titles A Streetcar Named Desire and Cat On a Hot Tin Roof both characterize the traits of their primary female characters to spotlight the developing role of women in the public eye.

While both the main antagonist and protagonist of the play conveys courage, there are two minor characters who act courageously for the sake of their own motives. To begin with, Lady Macbeth is one of the most ruthless and ambitious characters in the play, being introduced as cold-hearted and cruel. She constantly reprimands Macbeth for being too remorseful or “cowardly”. Her desire to be queen is strong, which is why she asks the spirits to, “...unsex [her] here And fill [her], from the crown to the toe, top-full Of direst cruelty” (Shakespeare 1.5.44-46). Due to this quote, the readers are able to infer that she has to rely on the spirits or alcohol to prevent her compassionate side from overcoming her instincts.

Shakespeare’s The Tempest is often considered fiction and finds content in expressing characteristics of both the main character, Prospero and differences in the power dynamics affecting his characters. Shakespeare often uses groups of characters to emphasize the complexity of their surroundings and effects on their behavior. The overall repetition of complications faced or caused in relation to Prospero and play an enormous role in the plot, helping to develop both the his feelings and the emotional ties of others regarding him. Shakespeare also varies the diction to place emphasis on the power dynamic and relationships observed between thespians. In comparison, the inconsistency between diction depicts the power dynamics observed in the play.