Tennessee Williams has poignantly depicted nature doing her bidding for the synchronization of, “unity of mental life,” (Freud, Reich, Lawrence, 499). The author appears to be like a naughty little boy running wild in the theater of universal consciousness. The projection of his inner life through his play A Streetcar Named Desire is his Picasso to the art gallery of replicas. He uses sublimation as an avenue to satisfy basic motives in a manner acceptable to society. In his attempt to escape social purgatory he constructed the characters Stanley and Blanche to give him wings unselfishly and put his co...
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...omosexuality as anything to be disguised. Neither did I consider it a matter to be over-emphasized. I consider it an accident of nature,” (Williams, 129).
It really did not interest Tennessee Williams if the story that his characters are telling is the truth, “[he] wanted to [show] that they could disappoint another to be true to themselves and that they could bare the accusation of betrayal without betraying their own souls,” (Oriah). He only managed to express this truth through his artistic creations. In his imagination he finds a recreation to alter his sensation. This elevation of understanding creates a new man free from the psychological chains of ideals. Ultimately understanding that when it’s all said and done, “ the soul lies down in the grass the earth is to full to talk about ideas, language, even the phrase each other doesn’t make any sense,” (Rumi).
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