From the very beginning, Blanche DuBois attempts to conceal her tragic flaws through a facade: of Virgin Mary like innocence and purity, while underneath her mask lays an identity of a prostitute and alcoholic. She strives to emulate a Southern aristocrat of her time period, but in this process, ironically, commits everything to solidify herself as the exact opposite. Blanche’s first impression reflects one of confidence, however; her fatal flaw of loneliness is ever present. Williams reveals to the reader Blanche’s solitude and instability with her statement to Stella, her sister, of the fact that “I can’t be alone! Because--as you must have noticed--I’m¬--not very well…” (17). Blanche yearns for the company of her sister, as she lacks any other stable relations. With the family deceased and Stella as the only survivor, Blanche can only lean on her shoulder in times of ha...
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...The Southern Review,
Vol. I, No.4, October, 1965, pp.770-90. Rpt. In CLC,vol. 30. Ed. Jean C. Stine, Daniel G. Marowski. Detroit: Gale Research Co.,1984. Print.
Krutch, Joseph, “How Modern Is the Modern American Drama?” in “Modernism” in Modern
Drama: A Definition and an Estimate, Cornell University Press, 1953, pp. 104-34. Rpt. In CLC, vol. 30. Ed. Jean C. Stine, Daniel G. Marowski. Detroit: Gale Research Co., 1984. Print
Watts, Richard, Jr., “Streetcar Named Desire’ Is Striking Drama,” in Twentieth Century
Interpretations of “a Streetcar Named Desire”: A Collection of Critical Essays, edited by Jordan Y. Miller, Prentice-Hall, inc.. 1971. Pp. 30-1 Rpt. In CLC, vol. 30. Ed. Jean C. Stine, Daniel G. Marowski. Detroit: Gate Research co., 1984. Print.
Williams, Tennessee. A Streetcar Named Desire. New York: New Directions Publishing
Corporation, 1947. Print.
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