Delusions In A Streetcar Named Desire

The focus of Chopin 's The Awakening is Edna 's conflict between her expected roles in society and her wants and desires. In this book Edna endeavors for self fulfillment, becomes seemingly impertinent, and ultimately feels cornered by the society in which she lives. Edna 's individualistic wants at first seem healthy, but quickly become out of hand as her thoughts become more chaotic. In her awakening, Edna is consumed by selfish desire. The aftermath of this desire leads her to feel as if she has been entrapped by society, ultimately leading to her destruction.

She drinks and lie’s because of her past, with her consciously knowing that she is responsible for the death of allan, and also being responsible for being fired as a teacher; she has to find a way to cope with everything going on in her head. Blanche’s way of coping is lying, her lying becomes part of her reality. “Blanches part in her husband 's death is neither gentile nor loving.” (Phillip 305) She Feels guilty for her actions, but there is little remorse shown from blanche.

Although the protagonists of “Fahrenheit 451” and “A Streetcar Named Desire” live in two drastically different societies, both are not satisfied with their current way of living and desire a change and improvement in their life. In “A Streetcar Named Desire”, the title of the play itself signifies Blanche’s desire to escape from the reality of her life, as she is haunted by her past and is currently living a life of insecurity, due to the loss of Belle Reve. Ironically, the streetcar named Desire did not bring her to what she truly wanted, an end of all her problems, and she in fact lost her sanity. The reason for Blanche’s tragic ending is due to the avoidance of her problems, shown metaphorically in the form of a flimsy paper lantern on top of a lamp.

It is an intrinsic battle that takes place over the course of the play, but comes to a head during the concluding moments, in which Claudio is deceived by his apprehensions of marriage into rejecting Hero, showing that perhaps he prides his honor above the love he so freely professes. Hero is placed in the uncomfortable position of being rejected by nearly everybody she cares for, necessitating that she fake her demise and be reborn as a new woman, resurrected from the grave and cleansed of the impurities she was accused of. Benedick and Beatrice have both pledged never to find love, and therefore must remove the guises behind which they labor- for indeed, both characters desire love, but hide their wish for fear of being rejected. In each instance, past beliefs must be discarded in the name of securing future happiness, which causes consternation in each individual. In the case of Benedick, he is forced to challenge his best friend to a duel in order to win the hand of his lover- an appendage of the central conflict, which is the inner battle between love and personal reservations which takes precedence over life and death (at least for the Christ-figure maiden

(C1) (Tr)In addition to Blanche's abnormal bathing and unhealthy obsession with young men Blanches illogical dread of light is displayed throughout the play insinuating that her (R)mental health is continuously demolishing. (C2) As the scenes of the play progress Blanche comes into contact with Mitch and is immediately drown to him.

She constantly refers to Stanley as a Polack, and reprimands Stella because she chooses to “hang back with the brutes,” when she, in reality, has a lower economic status than either of them. Blanche’s classist comments and lies display her insecurity in losing her place in the hierarchy of classism. Angering Stanely by her racist and classist claims, Blanche begins to boil the rage that leads to her vicious

In my scene she clearly says to Blanche, “I was very worried about you. I wasn’t sure if I had made the right decision.” This is consistent with the end of scene 11 when Stella protests the matron apprehending Blanche even though she had at least some part in planning it, “Don’t let them do that to her, don’t let them hurt her!” (140). It was the guilt and uncertainty she felt for sending Blanche away that made her question her relationship with Stanley.

Throughout A Streetcar Named Desire, Tennessee Williams uses symbolism to reveal aspects about the characters. Williams uses light and dark to symbolize Blanche’s need to live in an illusion showing how people often struggle to accept the harsh truth of reality. Throughout the play Blanche tries to hide who she really is and creates her own fantasy to live in. One of the first times we see Blanche start to set up her illusion is through the use of the paper lantern.

In the affliction of these terrible dreams/ That shake us nightly.” (Macbeth 3.2.20-22) Lady Macbeth is afraid to fall asleep in fear of having another nightmare. Her paranoia prevents her from enjoying her life as queen and her past sins seem useless. She feels happier being the wife of a thane, than she feels being a queen.

A Streetcar Named Desire, by Tennessee Williams, demonstrates light as a moral conflict with Blanche’s personality. For example, light shows the true nature of appearance versus reality with Blanche losing her dignity and the reality of seeing her essential beauty. Williams portrays Blanche’s uneasiness about light in her romantic interest in Mitch. Blanche fears her emotions against the vague shadows of depression. Light symbolizes the tragedy of Blanche’s first love and the heartbreak that was unbearable to her soul.

Literature and film go hand in hand. They both have themes, characters, plots and tragedies. Although they are similar, one you can hold in your hand, and the other you just view on a screen. Literature is a special thing because you can picture what you think is happening. You can picture the setting, the characters, how each shot has a certain angle.