She states that she “won’t be looked at in this merciless glare” (Williams, 11) and as she starts getting more comfortable at the Kowalski’s, she puts a paper lantern over the lightbulb to soften the light. The subdued glow allows her to play the role of a virtuous and coquettish ingénue while hiding her true age and her sordid past. Moreover, Blanche is of the opinion that “a woman’s charm is fifty percent illusion” (Williams, 41), which might explain why she is so attached to the idea of purity, considering her promiscuous past (which was revealed when in Scene 7, Stanley confronted Blanche about her work as a prostitute in Laurel). This continues throughout the play until, in Scene 9, Mitch says “I’ve never had a real good look at you” (Williams, 144) to Blanche and tears the lantern off the light bulb putting her in full exposure in terms of her looks and her true personality. The Southern belle defends herself saying that she prefers magic over reality, so she tells people “what ought to be truth” (Williams,
The character role of Blanche in the play, A Streetcar Named Desire was full of fantasy and delusion where Stella and Stanley started to live a life in romance. The place names were real, the journey foreshadowed Blanche’s psyche orientation throughout the play. Blanche’s desires had led her down paths of bad sexual relation and alcoholism, and by making contact with the Kowalski; she had crossed the limit. Blanche’s desire to escape made her to isolate from the world around her. By the end of the play, Blanche could no longer distinguish between fantasy and reality.
“A Streetcar Named Desire” contains a strong lighting motif that repeats throughout the play. This usually involves Blanche, a character who shies away from any light that is drawn upon her, and is especially sensitive to light when her suitor Mitch is around. To Blanche, she is still young and beautiful in her mind, but when light shines on her she becomes afraid that Mitch will notice her aging skin, her beauty falling. This motif heavily implies how Blanche sees herself and the significance to her sexual innocence. To begin, throughout the play the audience begins to understand how Blanche sees herself.
Through textual evidence, I believe that Louise Mallard did not see her husband at the bottom of the stairs, but rather passed from the prospect of freedom that she could not handle, and therefore the last line of the story is not sardonic, but in fact truthful; Louise Mallard truly did die of joy that kills. Firstly, Louise’s death was a result of her dissatisfaction with life. In the text, Louise repeatedly makes clear to the reader that she did not enjoy her married life despite Brently’s “kind, tender hands... [and] face that had never looked save with love upon her (Chopin 525).” In Louise’s opinion marriage, it is nothing more to her than a “powerful will bending hers in that blind persistence (Chopin 525).” Throughout her internal monologue, Louise is
Blanche, from A Streetcar Named Desire, knows the pain of light all to well. Blanche flees a failed company and a failed marriage in attempt to find refuge in her sister’s home. Through her whirlwind of emotions, the reader can see Blanche desires youth and beauty above all else, or so the readers think. In reality, she uses darkness to hide the true story of her past. In A Streetcar Named Desire by Tennessee Williams, Williams uses the motif of light to reveal Blanche’s habit of living in a fantasy world until the light illuminates her reality.
In A Streetcar Named Desire, Tennessee Williams, uses the motif of light to reveal Blanche’s obsession with living in a fantasy world until the light illuminates her reality. Blanche uses darkness to block her past from onlookers as to control her image. In particular, she hides her age and past relationships from onlookers, unable to reveal her genuine face to her biological sister. When Blanche first comes to Stella’s house, she firmly demands Stella to “turn the over-light off!” as she
Secondly, Blanche finds that she is only an outsider of Stella’s life without her past family position. She exhorts Stella to leave beastly Stanley but Stella does not mind. Blanche does not have the power of discourse and her suggestion is unheard and
She comes across as somebody who is devoid of real emotion; she allows Gatsby to pay the ultimate price for her wrong doings and fails to show an ounce of gratitude in his wake. Fitzgerald paints Daisy both as a victim and a villain and her character can be paralleled with his actual wife, Zelda Sayre, who was also from a wealthy background, highly materialistic and suffered from schizophrenia. In the opening chapter of ‘The Great Gatsby’ we are introduced to The Buchanans and get a real sense of what their life and marriage is like. They are extremely wealthy, which allows Daisy to live the life she is accustomed to – as a lady of leisure. Her life is so leisurely that she remarks to her guests, “I always watch for the longest day of the year and then miss it.” (Chapter One).
Identity conjures up an image of self-regard statically set in the beholder’s environment. However, identity is an active interplay between self-regard and the environment. This interplay takes center stage in Tennessee Williams’ 1947 A Streetcar Named Desire, as Blanche Dubois moves in with her sister Stella and brother-in-law Stanley Kowalski in New Orleans. Upon her arrival, Blanche and her grandiose air offend Stanley. His identity centers around his masculinity, and Blanche and her presence challenge and physically obstruct his identity.
Stanley represents evil in Mitch to break up the smile in Blanche's birthday. This shows Blanche had never been happy in the entire past life. Blanch's loving relationship with Allan has faded away but there continues to be a strong relationship with Mutch in the middle. Relationships are not meant to be broken but to be replaced with persons who have strong feelings in love and to move beyond in