The Raw Power of A Streetcar Named Desire Tennessee Williams's play A Streetcar Named Desire contains more within it's characters, situations, and story than appears on its surface. As in many of Williams's plays, there is much use of symbolism and interesting characters in order to draw in and involve the audience. The plot of A Streetcar Named Desire alone does not captivate the audience. It is Williams's brilliant and intriguing characters that make the reader truly understand the play's meaning. He also presents a continuous flow of raw, realistic moods and events in the play which keeps the reader fascinated in the realistic fantasy Williams has created in A Streetcar Named Desire.
“I can 't stand a naked light bulb, any more than I can a rude remark or a vulgar action.” - Blanche (p. 60). The fear that bright light has the power to reveal the truth is a reoccurring theme throughout the play, embodying the threat that follows Blanche everywhere she goes. In scene nine, Mitch comments on this, saying that he has never seen Blanche in daytime. She makes a series of excuses after which Mitch points a light at her. When this happens, Blanche confesses she only says what ‘ought’ to be true.
Their meaning is not as true as their music. They operate everywhere at some remove from real meaning” (48). The play’s end apparently mends this gap between word and deed (that is, between appearance and reality) by reestablishing the validity of the word, in part through Hamlet’s dying request that the truth be told (54-55). An initial reading of Hamlet’s final lines supports, Paterson’s suggestion that word and deed are ultimately reunited in the play’s end. It is clear, certainly, how concern... ... middle of paper ... ...n behind the words and appearances.
Her dishonesty causes her to be so sensitive as to avoid light, in fear that the reality of her past will be brought out... ... middle of paper ... ...of panic, and the only way she knows how to get out of it is to drink. She is so afraid of honesty that she has knit herself a blanket of lies, and when it unravels, so does her sanity. Though all of the characters, symbols and events within the play help to present the message that Tennessee Williams aims to convey, everything seems to be centered around Blanche. Her instability and constant lying is the sole cause of all of the drama and the primary tool used to impart Williams’ observations. The abundance of symbols in the play provides the most clarity of all the devices used in showing the importance of honesty and the damage the lies and uncontrolled desire can cause.
Also, the interchanging of these lines signify the blurring between choosing what is right and what is wrong, creating chaos inside of whomever might be trying to do so. Immediately from the start of Macbeth, we get the idea that nothing is as it seems and perhaps everything that seems to be ‘fair’ is actually corrupt and dishonest. Since the three witches say this line in unison at the end of the first scene in act one, it leaves the reader with an eerie suspicion for the next scene to come. Secondly, Macbeth having just had a victorious day at battle says “So foul and fair a day I have not seen” (1.3.38). This line brings back the idea of everything seeming to be one way but is really the complete opposite.
Demeter is able to go after Persephone only to find that too late Persephone has already “adapted'; to life in the underworld, and must remain there because she ate the fruit of the dead. Dove’s version is much the same and takes place in Paris. It deals with loss of home and a home coming that was not to be. Many of Rita Dove’s works deal, approach, define, or scrutinize the i... ... middle of paper ... ...he mother, is insanely worried about her daughter. Persephone is unmindful of her mother’s fear and is off having a great time partying in Paris.
The title therefore may have had some bearing on the actual plot or characters. The secondary title 'What You Will', suggests that the play has something of interest for everyone and it also reflects the theme of excess. This title is appropriate, as this theme is apparent in some of the characters, particularly in terms of their longings and desires. 'Twelfth Night' was the last of Shakespeare's 'mature comedies', the other two being 'Much Ado About Nothing' and 'As you like it'. Like most of Shakespeare's other plays, this play does not have an original plot.
Williams makes sure nothing is white or black but grey so that at some moments in the play we struggle to find a reason for her cool manipulation and hunger for power while at others we pity her pathetic life founded on lies and misconceptions. Even when she tries to break up Stanley and Stella’s relationship we don’t immediately brand her as a villain, we remember that if Stella hadn’t left than maybe Blanche would have become what she had wanted to become rather than what society dictated her to become. When we see Blanche for the very first time we know right away that she does not belong in Stella’s neighborhood, she is "daintily dressed" and her "delicate beauty must avoid a strong light", she seems in a fairly hysterical state but we can assume that’s just normal since she is "incongruous to this setting". She seems to be having trouble speaking normally to a black person so that we can already place the origin of her upbringing in the South, probably in one of those enormous mansions that housed rich slave owning white families. As the scene unfolds, the image of the rich, somewhat shelte... ... middle of paper ... ...e thinking about her and the play they will feel sympathy or at least pity for Blanche.
However, Blanche does not personally know Stanley, but when she does, things begin to go haywire in the ground floor apartment. THIS is where the conflict starts, the reason being that Blanche's history involves prostitution. It has a major link to Stella and Stanley's relationship, and the key theme of sexuality is successfully transmitted in "Streetcar", just as the respected playwright, Tennessee Williams - born on March 26th 1911 - intended to do so. In this play, I thought that the number of characters was restricted, so the audience tended to focus on each actor's personality and behaviour (within their role) more than they would normally. The audience generally consisted of middle-aged and above adults, although there was a minority of youngsters, too.
The title of the play is mentioned when Blanche is muttering to herself in Scene 1, ‘They told me to take a streetcar named Desire, and then transfer to one called Cemeteries and ride six blocks and get off at – Elysian Fields.’, which is effective as it encourages the audience to realise the importance of these different locations. Blanches desire is what she has followed which has led to a kind of death within herself. This is suggested in the name ‘Cemeteries’. The noun ‘Desire’ is used here to refer to Blanche’s past, both with Allan and in Laurel. The desire that she experienced with Allan was a desire for love which led her to temporarily ignore his attraction to males.