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A streetcar named desire morals
A streetcar named desire characters and contrasting values
A streetcar named desire morals
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It is evident how Williams establishes the various facades encircling “mendacity” - of untruths told, truths denied or withheld, deceptions practised on oneself and others - within ‘Suddenly Last Summer’, ‘Cat on a Hot Tin Roof’ and ‘A Streetcar Named Desire’. Williams’ homogenous moral centre insinuates the unveiling of mendacity as incomprehensible within the plays, as individuals cannot comprehend it; ultimately what is human must be valued as life is “worth saving.” I consider this faith in salvation through selfless empathy, alongside the implication of redemption, to be the central veracity in Williams’ moral scheme. Consequently, sincere relations are the only satisfactory things we are left with in this life. Tennessee Williams is
This whole play by Arthur Miller shows how our community will turn on each other to save ourselves no matter if it’s right or wrong and it’s true in our society today. It also shows how a good man regained his happiness and holiness by standing up for what’s right against the lies and sacrificed himself for the truth.
In the game of life man is given the options to bluff, raise, or fold. He is dealt a hand created by the consequences of his choices or by outside forces beyond his control. It is a never ending cycle: choices made create more choices. Using diverse, complex characters simmering with passion and often a contradiction within themselves, Tennessee Williams examines the link of past and present created by man's choices in "A Streetcar Named Desire" and "Cat on a Hot Tin Roof."
Bad choices are made every day by everybody. Those bad choices could lead to consequences that are going to bother a person for a long time. Even more, that person may try various ways to correct that error. The intention is good, but things can go even worse if the effort is based on unrealistic fantasies. This effort is presented as a part of modernist ideas. Modernist writers dramatize this effort through the tragic outcomes of the characters. Three modernist pieces, A Street Car Named Desire, Death of a Salesman, The Great Gatsby, all of them sent out a message to the audience, the loss of past and how it cannot be recovered. Each piece features a character who lost hope, strived to recover the hope, and ended with a tragic outcome. A Street Car Named Desire featured Blanche; Blanche spent her whole life trying to get some attentions. Death of a Salesman featured Willy; Willy spent his whole life trying to apply the idea “Be Well Liked.” The Great Gatsby featured Jay Gatsby; Gatsby spent his whole life trying to win back Daisy. All of those characters ended with tragic outcome. Blanche was sent to asylum by her own sister. Willy committed suicide after felt humiliated by his sons. Gatsby was murdered with a gunshot planned by Tom Buchanan. Blanche, Willy, and Gatsby’s tragic fates are caused by their false beliefs about life, which are proven wrong by the contradictions between the reality and the illusion.
Tennessee Williams shatters society’s facade of women in his plays, “A Streetcar Named Desire”and “Sweet Birds of Youth”. In both plays, Williams develops his characters to show the reader that women are not always able to live up to the stereotypes and standards that society creates. He presents women, like Blanche DuBois and the Princess Kosmonopolis, and shows that they are no longer capable of being the women society wants them to be. They are in fact past their prime and are being rejected by society.
In the study of Tennessee Willliams' plays: "Suddenly Last Summer" and "The Glass Menagerie", we can find a great deal of autobiographical connections. "The Glass Menagerie" is particularly considered the author's most biographical work. It is described by the playwright as "a memory play"; indeed, it is a memory of the author's own youth, an expression of his own life and experiences. Similarly, "Suddenly Last Summer" includes many of Tennesse Williams' real life details.
The Glass Menagerie is a famous play that is both a popular and critical success, written by the award-winning playwright, Tennessee Williams. This play is considered to be one of William’s best-loved plays, even winning the Drama Critics Circle Award. The Glass Menagerie is considered to be “a portrayal of loneliness among characters who confuse fantasy and reality,” and is carefully developed through Aristotle’s elements of drama. These six elements really help to portray the true meaning of the play, and includes the principle of plot, moral disposition, intellect, diction, melody, and spectacle. The use of Aristotle’s elements of drama really help to compose and unite the play as a whole.
In A Streetcar Named Desire, the form of a Southern Gothic gives the readers its distinct build – up of tension in the play’s scenes. Throughout the play, the structure closely follows the confrontation between Stanley and Blanche and the tension starts to build up. As the tension increases, the structure changes to compensate for the conflict. Tennessee Williams does this through the play’s stage directions. One such example is where the playwright forebodes future events in the play – ‘The boy [...] I’m going to be sick!’ This cliff – hanger at the end of scene one suggests that Blanche has a mysterious past and it urges the audience members to read on as they are curious to this sudden shock. Like most dramas similar to A Streetcar Named Desire, it follows the common structural points – exposition to dénouement. Williams structures the play as eleven different scenes – each which have different time periods to show the progression of the play from May to September.
The concept of power in ‘A Streetcar Named Desire’ can be split up into two distinct but related categories. The first category is dominance and the masculinity and physicality that go along with it and the second is subservience which is related to dependance and femininity. However, emotional manipulation and Williams own personal experiences also contribute to the representation of power.
...ams’ drama A Streetcar Named Desire, Blanche clearly illustrates the dire consequences of a life lived under the constraints of value rigidity. Blanche’s rigid values, preconceived ideals, and professed superiority imprison her in a make-believe world. This alternate world, constructed upon the foundation of a rigid value system, makes her fragile and ultimately causes her destruction. In the play’s conclusion, she collapses as she leaves the objective world behind and adapts the exterior world to fit her delusions. Her character’s experience provides readers with a graphic example of a life defined by rigid values and a lack of true Quality. Similar to Pirsig’s illustration of the South Indian Monkey trap, readers want to advise Blanche to drop the act, forgive herself, and embrace reality so she can avoid spending the rest of her life in a mental institution.
In Williams, Tennessee’s play The Glass Menagerie, Amanda’s image of the southern lady is a very impressive. Facing the cruel reality, she depends on ever memories of the past as a powerful spiritual to look forward to the future, although her glory and beautiful time had become the past, she was the victim of the social change and the Great Depression, but she was a faithful of wife and a great mother’s image cannot be denied.
Alcoholism has a harsh effect on not only the victim itself, but the family as well. The presence of an alcoholic in a family can alter the environment and cause social, cultural, and behavioral issues within the family members. Tennessee Williams’ play, The Glass Menagerie, illustrates how the characters in the play adapt and cope with the departure of their alcoholic father. The topics of alcoholism and the effects of abandonment within the play is discussed in “Tennessee Williams’ Dramatic Charade: Secrets and Lies in The Glass Menagerie”. In the article, Gilbert Debusscher identifies the behavior of the family in relation to Mr. Wingfield’s alcoholism. In his article, Debusscher argues that
The typical plot format of literature and theater is comparable to an equation. Calculate the humble introduction of a hero plus the malicious obstacles set forth by a villain. Multiply this by a series mental and physical strife, such as the loss of an arm or respect. Once you have this product, add a suspenseful climax and subtract by a tension relieving resolution. For purposeful reason, this equation’s answer cannot be found within the plot of The Glass Menagerie. Tennessee Williams establishes a setting of familial dysfunction, free of heros and villians. Some argue that Laura’s disability grants her the label of the hero. However, the unhealable wound archetype in this case is not a symbol of a low point present in the “hero’s journey”,
Thesis: In Tennessee Williams’s play, A Streetcar Named Desire, Williams highlights the different relationships between the genders to illuminate the idea that repressing one’s true self will lead to destruction.
Through Maggie’s fight between femininity and boyish activities and Brick’s struggle with homosexuality, readers are given the option to see and understand the world through Williams’ perspective. The playwright likely chose this topic to outline in his play because it is something that everyone struggles with daily. One may try to live up to impossible social standards, yet one has no grounds in one’s character to even begin. No human being is perfect. Despite this, these standards remain expectations and social
Tennessee William’s “The Glass Menagerie”, concentrates on a dysfunctional family’s rotting tree. The play has dialogue centered on conflict. In every tree, there is an apple that stands out, but an excessive conflict, will rot the beauty even before it falls to the