1. society
2. unrest and war

H/I2
 Most
plays are written with an audience in
mind, not to be studied as a literary work.
We always therefore, refer to the audience
instead of the reader
 However
we can still study a playwright’s
intentions and the world created on the
stage
 Tennessee
Williams in particular gives
detailed stage directions that help the actors
bring the characters to life.
 First
reading of the play
 Study
the film version
 Second,
in-depth reading of the play with
focus on themes, literary and dramatic
techniques and devices

Tennessee Williams (March 26, 1911 – February 25,
1983)

Williams is thought to have been able to identify with
a fragility and vulnerability in women and once said:
“I draw every character out of my very vulnerable
split personality. My heroines always express the
climate of my interior world at the time in which
those characters were created”

He found examples of universal experience in the
fringes of acceptable behaviour – maybe this relates to
his personal experiences.

1. What does Williams' depiction of Blanche and
Stanley’s lives say about desire?

2. The plot of A Streetcar Named Desire is driven
by the dueling personalities of Blanche and
Stanley. What are the sources of their animosity
toward one another?

3. A Streetcar Named Desire can be described as
an elegy, or poetic expression of mourning, for
an Old South that died in the first part of the
twentieth century. Do you agree?





As a Southerner, he was affected by the events of the American
Civil War (1861 – 1865). Following their defeat by the Northern
States, the South suffered economically. However, this air of
decaying grandeur added to the romantic appeal for Williams.
As time moved on, industrialisation continued into the cities.
Whilst the plantations continued to decay, urban growth and
capitalism flourished in the cities.
Williams was interested in the process of American history – not
only where it had been, but also where it was going and how it
would get there.
Stanley represents the American Dream where all men are born
equal and can succeed equally, whilst Blanche represents the Old
World, where class and race are still important issues.
Williams was homosexual and whilst this is clearly an aspect of
his work (think of Blanche’s dead husband Alan), it is important
to remember that for most of his life, homosexuality remained
illegal. It was however tolerated in some places such as New
Orleans.
 Women
in the Old South had a social and symbolic
role, were expected to be passive and chaste. This
world could not give what Blanche wanted and
needed, so she tried to marry into the ‘light and
culture’ yet she discovers that there is corruption
and deceit behind this facade.
 Blanche and Stanley are from different worlds
where money has different values.
 The tensions in the play come partly from cultural
conflict – the worlds of Stanley and Blanche are so
opposed that neither can understand each other.

The play is an example of the “Southern Gothic”
– texts set in America’s South with overtones of
supernatural or unusual events (such as
Blanche’s madness)

Tennessee Williams described Southern Gothic as
a style that captured "an intuition, of an
underlying dreadfulness in modern experience.“

The play is also an example of social realism (all
the events are ordinary and realistic, such as the
domestic arguments etc)

“A Streetcar named Desire” refers literally to the
streetcar Blanche takes to reach Stella’s house but
also reflects the trajectory of Blanche’s life. She has
always been driven by desire.

The streetcar stops at “Cemeteries” pointing to the
tragedy experienced by Blanche and directly
connecting death and desire

Then finally stops at “Elysian Fields” – the Greek
place of the dead. Blanche finds herself enduring a
“living death” in an asylum.

Williams initially entitled the play “The Moth” which
would have put much more focus on Blanche as a
character.

The play offers a romanticized vision of slum life that
nevertheless reflects the atypical characteristics of New
Orleans. The mix of characters and social elements around
Elysian Fields demonstrates the way New Orleans has
historically differed from other American cities in the
South. It was originally a Catholic settlement (unlike most
Southern cities, which were Protestant), and consequently
typical Southern social distinctions were ignored. Hence,
blacks mingle with whites, and members of different
ethnic groups play poker and bowl together. Stanley, the
son of Polish immigrants, represents the changing face of
America. Williams’s romanticizing is more evident in his
portrayal of New Orleans as a city where upper-class
people marry members of the lower class, fights get ugly
but are forgotten the next day, and the perpetual bluesy
notes of an old piano take the sting out of poverty.

A gothic American writer – wrote fiction
concerned with the supernatural and
madness.
 Blanche
refers to him at several points – she
compares New Orleans to the Forest of Weir
(Poe’s poem Ulalume which is concerned
with death of the female and a dreamlike
reality).
 This
also reminds the audience that Blanche
is an English teacher.

Blanche arrives at the symbolically named
“Elysian Fields” – reference to the Greek
Underworld heaven and also ironic, Stella lives in
a shabby neighbourhood.

Blanche is compared to a “moth” suggesting her
fragility and her attraction to “light” (culture
and positivity).

Introduces Blanche’s thinly masked alcoholism –
Stanley notices this from the start “Liquor goes
fast in hot weather”. Blanche’s alcoholism is
stressed by her repetitive action of drinking
throughout the play.
 Motifs:
the blue piano (sets the mood
throughout the play) which represents the
multicultural, upbeat spirit of New Orleans –
the new South where black and white
mingle.
 The
polka: alerts the audience to the fact
that Blanche’s dead husband is important. It
also suggests she is “haunted” by the
memory of her dead husband, Allan.

Blanche’s character is revealed here: her awareness
of social distinction (the way she accepts Eunice and
her neighbour’s kindnesses as if she expects them)
and her dismay at Stella’s way of life.

Blanche is the play’s focus . Williams turns Greek
tragedy on its head in this play by subverting the
norm of a Greek tragedy in which a noble hero
suffers a downfall. Instead Williams charts the
downfall of a vain, deluded, promiscuous woman and
creates a sense of pity and fear towards her.

Blanche’s constant need for flattery suggests her
vanity and fear of losing her looks (a fading Southern
Belle) creating pathos (a strong sense of pity for her)

In this scene, Williams paints the picture of the sisters’
relationship – when Blanche retells the stories of the family
deaths at Belle Reve she is accusatory towards Stella. She claims
Stella has been selfish and indifferent while she “fought and
bled” for Belle Reve compared to Stella who she reproaches for
being “in bed with your Polack” – a double insult.

“I let the place go!” – Stella had not accused her sister of letting
Belle Reve (beautiful dream) go. Blanche’s words here reveal her
and are self-accusatory. She is also out for sympathy from Stella.

Do you think that Blanche genuinely has no idea why the family
plantation had to be sold, or is she unwilling to admit her part in
it?

Blanche’s obsession with death is shown here as she recounts the
horrors of Belle Reve – she is very matter-of-fact about the
deaths suggesting a self-protective mechanism she has been
forced to adopt.

Tennessee Williams gives a character sketch of
Stanley as having sexual magnetism from the
beginning.

The meat he throws at Stella is symbolic – it
implies his primitive nature and Eunice and the
Negro Woman see it as a sexual gesture.

Stanley and Blanche are immediately established
as opposites. Stanley a “primative” and “gaudy
seed bearer” compared to Blanche’s delicacy
and hysteria. The audience is more likely
however at this point to respond better to
Stanley, who seems much less pretentious than
Blanche.

In this scene our understanding of Stella and Stanley’s relationship moves
beyond their sexual attraction – Stanley is openly disrespectful to Stella
and aggressive towards Blanche. The audience will begin to shift their
sympathies from Stanley as his behaviour grows more unappealing.

The “perpetual blue piano” plays, which underlines the fact that Blanche
is in New Orleans – Stanley’s territory. The music grows louder towards
the end of the play signifying the dramatic scene to come next “

Blanche and Stanley clash openly for the first time. Here Blanche’s Old
South romantic intellectualism clashes with Stanley’s New South
economic practicality and pursuit of success. Stanley’s suspicion of
Blanche is cemented in this scene as he suspects her of being dishonest in
her dealings with Belle Reve.

Blanche acknowledges the clash between her and Stanley saying she
understands Stanley better than Stella does “The poor thing was out
there listening to us, and I have an idea she doesn’t understand you as
well as I do...”

Stanley’s ignorance and greed is further shown when
he mistakes Blanche’s costume jewellery for
expensive pieces. Stella mocks him for this, creating
resentment from Stanley “Don’t be such an idiot,
Stanley!”

The trunk shows the audience the little that Blanche
has in the world and creates sympathy for her.

Stella has not been brought up with the same
attitude towards money that Stanley has which is
pragmatic – money creates social distinction and
“keeps up appearances” shown by Blanche’s furs and
imitation jewellery. Stanley observes the class
difference between them by saying “ The Kowalskis
and the DuBois have different notions”.

Stella informs Stanley that Belle Reve is lost and
Stanley voices his suspicions and demands to know
why. His suspicion is rooted in his insecurities around
his lack of education and fear that Blanche may be
able to “swindle” him.

He repeatedly refers to the “Napoleonic code” where
he justifies his feelings of entitlement to Stella’s
inheritance. This shows his misogyny and greed –
whatever belongs to Stella should belong to him.

Stanley is in fact ignorant regarding the “Napoleonic
Code” as Belle Reve is in Mississippi and therefore
would not come under Louisiana law.

Blanche is bathing – as she does repeatedly in the play.

The hot weather is part of the reason for this (the hot
weather also creates a sense of rising action and mirrors
the heated exchanges and passion within the play). It also
irritates the other people in the house and creates tension.

Blanche explains her constant bathing as something which
calms her nerves “hydrotherapy” – drawing more attention
to her hysterical nature. “Hello Stanley! Here I am, all
freshly bathed and scented and feeling like a brand-new
human being!”

Her bathing can also be seen symbolically as a mental
cleansing of her guilt regarding Allan’s death. It also
reflects a desire to “cleanse” herself of her promiscuous
past in Laurel and make a new life for herself.

Blanche attempts to flirt with Stanley, oblivious to his anger at
being “swindled” – the audience will pick up on the tension
created here by the juxtaposition of his rage with her attempt to
win his favour.

The stage direction puts Blanche in a “red satin robe” –
suggesting sexuality. She attempts to flirt with Stanley who as a
result becomes more suspicious of her. “[ She sprays herself with
her atomiser; then playfully sprays him with it. He seizes the
atomiser and slams it down on the dresser.]”

Blanche’s unsuccessful flirting shows her lack of control of
Stanley – this has always been her method of gaining power in a
new situation.

Poker – an important symbol in the play is brought in here –
Stanley hints that Blanche should “lay her cards on the table” or
be honest. The link between poker and the wider illusions/reality
tensions is established.

Blanche’s dead husband resurfaces when Stanley
finds the love letters from him Blanche treasures
– “The touch of your hands insults them!” – this
also shows that she is not over his death.

She gives the audience further hints into the
intrigue of her relationship with him “ I hurt him
the way that you would like to hurt me, but you
can’t! I’m not young and vulnerable any more.”
Blanche believes that she is now protected
against being hurt mentally but is proved wrong
towards the end of the play.

Blanche and Stella go out for the night and
Blanche displays her romantic, sensitive nature
“How pretty the sky is! I ought to go there on a
rocket that never comes down!” but is quickly
reminded of the reality of her situation in New
Orleans “Red hots! Red hots!” which causes her
to react defensively.

At the end of the scene she hints at impending
catastrophe by commenting that “The blind
(Stella) – are leading the blind!” Stella is blind to
Stanley’s true nature and she is blind to reality.
Her desperate laughter hints that she is aware of
the coming danger but unable to face up to it.
 The
initial stage directions are vivid and and
reiterate the importance of visual elements
such as light and harsh primary colours.
 The
stage direction also alludes to a painting
by Van Gogh
In His Words:
"I made up my mind to take it gaily. I swore at the said
landlord, who after all isn't a bad fellow, and told him that to
revenge myself for paying him so much money for nothing, I
would paint the whole of his rotten shanty so as to repay
myself...I have tried to express the terrible passions of
humanity by means of red and green.“
A Study In Dreary:
"The room is blood red and dark yellow with a green billiard
table in the middle; there are four lemon-yellow lamps with a
glow of orange and green. Everywhere there is a clash and
contrast of the most alien reds and greens, in the figures of
the sleeping hooligans, in the empty dreary room, in violet
and blue. The blood-red and the yellow-green of the billiard
table, for instance, contrast with the soft tender Louis XV
green of the counter, on which there is a rose nosegay. The
white clothes of the landlord, on vigil in a corner of this
furnace, turn yellow, or pale luminous green."

Outstanding signatures

Homework – finish reading Streetcar for Thurs. There will be a quiz!

Streetcar analysis, need to finish this week.

The following to send me their completed folios today WITHOUT FAIL,
you will need to make up today’s work.

Anna
Sarah
Heather
Jennifer
Millie Mitchell
Toby
Beth







The poker game shows Stanley as a dominant figure amongst his friends
“Deal!” and his coarseness “Spit in the ocean” – and Blanche’s attraction
to the more refined Mitch “He seems superior to the others”

“One-eyed jacks are wild” could be seen to be a reference to Stanley.
One eyed jacks are the knaves of spades and hearts. Knave = a rogue

Stanley’s friends show their absolute loyalty to him even after he attacks
his wife “They speak quietly and lovingly to him..” showing that Stella is
entirely alone should she choose to leave her marriage.

The setting with its bright colours alerts the audience to the fact that
this is Stanley’s territory. Blanche tellingly puts up a Chinese lantern she
has bought in this scene which hints at her inability to face things as they
are.

Stanley is instantly resentful of Mitch’s attraction for Blanche
 The
climax of the scene – when Stella is
attacked by Stanley is offstage, creating an
event in the imaginations of the audience.

Stanley’s emotions are mirrored on set and using
music.

“Paper Doll” was a smash hit song about possessive
love and it bemoans “fickle minded real live” girls. It
shows Stanley’s change of mood to shame “played
slow and blue” and would have been very familiar to
audiences.

“Dissonant brass and piano sounds....The “blue
piano” plays for a brief interval.” The music shows
his troubled emotional state as he looks desperately
for his wife.

Dissonant = harsh and inharmonious which reflects
the Kowalskis’ turbulent marriage.

Stella goes back to Stanley in this scene and the low-tone clarinet used in
the stage direction echoes the sexual tension between Stella and Stanley.
This is shown by Eunice’s comment :“I hope they do haul you in and turn
the fire hose on you, same as the last time!” to be characteristic of
Stella and Stanley’s relationship – the violence is part of the attraction
for Stella and this scene displays her passion for Stanley.

Stanley’s shouting “STELLA-AHHHHHH!” also mimics an animal’s cry for
its mate.

Stella and Stanley’s relationship is shown to be primal – Stella refers to
Stanley as an “animal thing” over his anger towards the radio. “Then
they come together with low animal moans”, and this contrasts with
Mitch and Blanche’s more refined courtship where they discuss poetry
and Mitch’s notions of etiquette towards women “Poker should not be
played in a house with women.” Blanche asks Stella if Mitch is “a wolf” –
is he animalistic?

At the end of the scene their attraction is
cemented when Blanche remarks “Thank you
for being so kind! I need kindness now”
which foreshadows her famous line about the
kindness of strangers (which of course Mitch
is). The music fades away demonstrating that
the emotional turmoil of the scene is over.
 Mitch
reassures Blanche saying that Stella
and Stanley are “crazy about each other” –
desire can be seen as a form of madness in
this play.
 Death
(symbolic streetcars, loss of Belle Reve,
Blanche’s dreams of dying, loss of Blanche’s
husband, Mexican flower seller)
 Desire (sexual passion, sexual degradation,
misplaced desire, promiscuity, exciting
lovemaking, giving birth, suffering caused by
desire)
 Madness (Blanche’s fantasy world, Stanley’s
ability to break Blanche, Williams’ use of stage
directions)

In this scene, the two sisters discuss desire and Blanche refers to
it negatively as a “rattle-trap street-car” , as something brutish
and harmful “Now don’t say it was one of those mysterious
electric things between people! If you do I’ll laugh in your face.”

Stella asks Blanche if she has “ever ridden on that street-car”
and Blanche replies that it has brought her to Stella. E.g.
Penniless and alone. The sisters are alluding to sexual passion .

The opening stage directions suggest harmony, reflecting Stella’s
now calm state of mind. She is reading a comic which puts her
more into Stanley’s world than Blanche’s educated world.

Blanche enters hysterically and “her appearance entirely
contrasts with STELLA’s” – this shows Blanche’s lack of
understanding regarding Stella and Stanley’s relationship.

The sisters’ dialogue contrasts in this scene with Blanche’s highly
strung tone pitched against Stella’s matter-of-fact, dry tone. This
foreshadows their relationship at the end when Blanche is sent to
the asylum.

Blanche tries to contact her old beau, Shep Huntleigh showing
her attempts to be rescued by a gentleman of social standing and
makes the audience question her sanity.

A dramatic device is also used in this scene when the audience
sees that Stanley overhears Blanche describing him as an animal
and a brute. A train is in the stage direction here, an accepted
literary representation of fate.

She reminds Stella of the world she comes from “Such things as
art- as poetry and music...” and begs her to leave Stanley.
 Stanley
re-enters the scene and Stella
“embraced him with both arms, fiercely...”
and he grins at Blanche showing his victory
over her.
 The
stage direction reinforces this, with the
lights showing a “lingering brightness” on
their embrace and the blue piano playing.
This marks the beginning of Blanche’s
downfall in New Orleans.

In this scene Blanche’s sanity is again brought
into question as she writes to Shep Huntleigh
(unable to accept Stella’s decision to stay with
Stanley) and the dramatic device of her aside
“(She laughs nervously and brightly,touching her
throat as if actually talking to Shep)
“Forewarned is forearmed they say”

A threatening atmosphere is also created here
by the dispute between Eunice and Steve and
the growing tension between Blanche and
Stanley p.50-51

Blanche and Stanley’s differences are underlined through the
discussion of starsigns - Blanche seeks to reinforce her moth-like
suggestions of innocence by revealing she is a Virgo (sign of the
virgin) and Stanley is revealed to be a Capricorn (sign of the goat
with connotations of sexual brutishness)

Stanley reveals he has discovered something about Blanche’s past
and the hotel Flamingo.
Blanche admits to Stella that she hasn’t been “hard or selfsufficent enough” and refers to “temporary magic” for protection
i.e. her many one-night stands.


Blanche refers to “the soft people have got to-shimmer and glowput-a-paper lantern over the light...” suggesting she is aware of
her fading looks and unable to deal with reality. This creates
sympathy for Blanche, and underlines her vulnerability.

Stella spills coke on her sister’s white skirt – the stain can
be seen as symbolic of her stained reputation in Laurel.

Stella and Stanley leave for the night (music reflects their
upbeat attitudes at this time then changes to “slow and
blue” when Blanche is alone.

Blanche then encounters the Young Man delivering papers
which adds complexity to her character. She is overtly
sexual in her behaviour towards him, contradicting her
professed intentions to marry Mitch suggesting a selfdestructive nature. It also lets the audience know the
rumours about Blanche are true.

Mitch arrives and Blanche refers to him as “my
Rosenkavalier” or a knight of the rose – further highlighting
her dependence on men and contradictory character.
The play has a number of themes which involve conflict
in its many forms:
 The values of the Old South versus the New American
Way.
 Decay versus change
 Illusion versus reality

Soliloquy

Setting

Aside

Dramatic Irony

Visual Irony

Off-stage action

Contrast (juxtaposition) (Comedy vs Tragedy)

Sound Effects/Music

Lighting
 In
this scene Mitch and Blanche are returning
to Elysian fields after a failed romantic
encounter.
 Blanche
remarks “Is that streetcar named
Desire still grinding along the tracks at this
hour?” pointing to the lack of real passion in
their relationship. Mitch and Blanche find
common ground in loneliness but Blanche
lacks a true desire for Mitch. Do you think
Blanche could truly be happy with a factory
worker?

Blanche reiterates her perspective on male/female
conflict as she comments on the “law of nature” that “the
lady must entertain the gentleman – or no dice!” i.e. no
chance or power in a relationship.

Blanche tries to present herself as a virtuous character but
repeatedly in the scene she alludes to her past (Mitch
blissfully unaware at this point, therefore creating irony)
such as her use of a French prostitute’s invitation “Voulez
vous couchez avec moi ce soir?”

Blanche finds herself unconvincing – and even rolls her
eyes as she refers to her “old-fashioned ideals” – because
Blanche is openly dating Mitch she feels she should
conform to social standards that she clearly has little
genuine regard for.
 Mitch’s
clumsiness and his inept way of
repeatedly referring to his perspiration on a
date “I’m ashamed of the way I perspire. My
shirt is sticking to me” creates a contrast
between the refined Blanche and the
awkward Mitch suggesting they are unsuited.
 That Blanche is prepared to stick with Mitch
despite this shows her loneliness – “You’re a
natural gentleman, one of the very few that
are left in the world.”
 Blanche
asks Mitch about Stanley’s opinion of
her – he is unable to understand the tension
between Stanley and Blanche but Blanche
foreshadows the rape scene by
acknowledging “Of course there is such a
thing as the hostility of – perhaps in some
perverse way he –” –
 Blanche
is displaying her knowledge of men
here, again lost on Mitch. She also suggests
their relationship is doomed by refusing to
admit her real age when Mitch asks.

Blanche and Mitch do find a genuine tenderness when they discuss their
mutual loneliness. Mitch suggests they should be together “Could it be –
you and me, Blanche?” – this could potentially save Blanche making
Stanley’s destruction of their relationship more poignant.

Blanche reveals to Mitch and the audience the story behind her marriage
(and the significance of the Varsouviana polka music – “We danced the
Varsouviana!” ) – the Varsouviana symbolises the memory of her dead
husband but also the moment her innocence about the world was lost.

Blanche hears a train at the point she is telling the story, again
demonstrating to the audience the significance (links to fate – her
relationship with Alan at a young age has shaped her life)

Blanche’s husband was referred to by onlookers as the “Grey boy” – this
refers to his name but also shows him to be one of the “pale coloured”
characters and suggests a shadow/ghostlike quality. Blanche has stated
she prefers people who are “primary colours”.
 Blanche
uses the language of light and
darkness to explain her relationship with her
husband: “It was like you suddenly turned a
blinding light on something that had always
been half in shadow” and says that since his
death “the searchlight which had been
turned on the world was turned off again and
never for one moment since has there been
any light that’s stronger than this – kitchen –
candle…” Blanche’s lack of light (love) in her
life has affected her reality.

Time in the play has moved on in this scene – denoted by
Stella’s advancing pregnancy.

Stanley comes on and begins mocking Blanche (predictably,
in the bathroom) and Stella attempts to defend her sister –
“you have got to realise that Blanche and I grew up under
very different circumstances than you did” – underlining
the class difference between Stanley and the sisters.

Stanley begins telling Stella about Blanches’ past in detail
and his crude abrupt style is contrasted with Blanches’
singing “contrapuntally ” to create a contrast and rising
tension (what will happen when Blanche comes out of the
bathroom?)

The sentimental tune Blanche is singing creates a contrast
with her sordid behaviour in Laurel.

Blanche sings “Paper Moon”juxtaposed with Stanley
gleefully telling Stella about Blanche’s past – a well known
song which echoes her situation and the theme of illusion
vs. reality. The song is about a love that will never come to
anything (parallels Blanche’s future with Mitch).

Stanley tells Stella that Blanche is not merely considered
promiscuous in Laurel but “loco-nuts” again suggesting the
play’s ending. Stella also echoes Blanche at this point in
her reluctance to deal with reality “I don’t want to hear
any more!”

Stanley’s need to remove Blanche from his home is now
crystallised – now he knows she has no intention of
returning to Laurel and is not merely visting – she has
nowhere else to turn.

Stella acknowledges that Blanche can be “flighty” but alludes to
Alan’s death saying that “when she was young, very young, she
had an experience that – killed her illusions!” – Stella lays the
blame at Alan’s door referring to him as a degenerate. Stanley
shows no compassion for Blanche at this point which generates
sympathy for her despite her actions in Laurel.

The serious tone is then countered with some light humour when
Stella says she is only putting twenty five candles on Blanche’s
cake which then sees more rising action as Stanley confesses he
has revealed Blanche’s past to Mitch. Stella is furious – pointing
out Blanche has few other options “And she hasn’t got her job?
Well, what will she do!”

Stanley retorts that her future is mapped out for her – implying a
life of prostitution which Stella refuses to acknowledge.

Rising action is created when Stanley repeatedly
shouts at Blanche to get out of the bathroom –
Stella by comparison withdraws, again creating a
contrast. Stanley’s insistence that Blanche stop
her ritual of cleansing herself can also be seen
metaphorically.

As the rising action continues in this scene until
the audience is left in suspense by the end.
Blanche’s attempts to be lighthearted despite
the tone contribute to the tension before
Blanche finally demands to know what has
happened and the “distant piano goes into a
hectic breakdown”

This scene takes place three quarters of an hour following
the last scene. The stage directions are full of light –
representing the harsh reality facing Blanche in this scene.

“A torch of sunlight blazes on the side of a big water
tank...”

Stanley, Stella and Blanche are having an difficult meal
together. The music fades to create a tense silence when
Blanche desperately tells parrot jokes to try an alleviate
the mood.

The tension is also created by the audience’s
foreknowledge that Stanley has a bus ticket for Blanche
and anticipates her reaction when she receives it.

Stanley’s frustration is shown in his aggressive, crude
eating of the meal which emphasises his animalistic
nature.

He is unapologetic when reproached by Stella, whose
reprimand echoes Blanche’s voice: “Your face and fingers
are disgustingly greasy. Go and wash up and then help me
clear the table.” Stella stands up to Stanley in this scene
and tells him “You needn’t have been so cruel to someone
as alone as she is.”

The class difference between the sisters and Stanley is
shown at this point. Stanley reacts violently, referencing
Huey Long – “Huey Long said “Every Man is a King!”
showing he belongs in the New South of New Orleans and
his acceptance of the idea of the American Dream. This is
also echoed with his statement that he is “one hundred
percent American...so don’t ever call me a Polack”

Stanley’s motivations for telling Mitch about
Blanche’s past are made clear when he says to Stella:
“Stell, it’s gonna be all right after she goes and after
you’ve had the baby...and get the coloured lights
going..”. Stanley sees Blanchhe as a threat to his
marriage and scoffs when she mentions her future
involvement in Stanley’s family “ His Auntie knows
that candle aren’t safe”

The motif of light and dark representing illusion
versus reality is continued at this point as Blanche
rambles about the “candles that burn out in boy’s
and girl’s eyes....and after that happens, electric
light bulbs go on and you see too plainly...”

Stella demands to know why Stanley has treated Blanche so harshly – she
defends Blanche and creates sympathy for her: “You didn’t know Blanche
as a girl. Nobody, nobody was tender and trusting as she was. But people
like you abused her, and forced her to change.” This suggests to the
audience that Stella may yet leave Stanley.

Stanley continues the motif of light/colour vs. darkness. He reminds
Stella of her attraction for him “I pulled you down off them columns and
how you loved it, having them coloured lights going!” and of her social
position now she has married him.

A change in tone is abruptly caused by Stella going into labour – this
device is what causes Stanley and Blanche to be alone in Scene 10. This
also allows Stella to forget about Blanche’s distress.

The scene ends on an eerie note with Blanche alone, the Varsouviana
rising to a crescendo and Blanche whispering “El pan de mais....”
foreshadowing the Mexican woman who represents a portent of death.
The music is suggesting the danger to come.

Tennessee Williams again sets up very specific stage
directions. Blanche is sitting wearing discordant colours
and red satin robe creating connotations of her past
prostitution. She is drinking and the Varsouviana, now
mirroring her mental state: “rapid feverish polka tune”
and works to suggest her descent into madness.

Mitch enters in a dissarrayed state and Blanche
immediately attempts to hide the truth about herself
(hiding the liquor bottle and “dabbing her face with
cologne and powder”).

Blanche tries to explain how, for her, lies are the real truth
about herself. She tells her true tragic story to Mitch who
shows no understanding – showing that any hopes she has
had of a meaningful relationship with Mitch have been
hopeless and he is not “a cleft in the rock of the world I
could hide in.”

The motif of light and dark is used by Mitch
“Let’s turn the light on in here” – showing he
wants reality. Blanche says she wants “magic”
instead and reacts with terror as Mitch tears
down the symbolic paper lantern that represents
illusion.

This melodramatic scene creates a climax where
Mitch attempts to rape Blanche – showing that a
woman who does let emotions rule her is indeed
“lost” and has “no dice”. As Mitch remarks
“You’re not clean enough to bring in the house
with my mother.”
 The
scene ends with the distant blue piano
(suggesting loneliness) – and the Mexican
woman who represents a portent of death.
Her eerie call into the night of “Flowers for
the dead” suggests a parallel with the death
of Blanche’s dreams.












The streetcars named Desire and Cemetries, in Elysian Fields.
Blanche’s white clothes (and later soiled clothes).
The Varsouviana
The importance of poker.
The paper lantern.
Music: the polka, the Blue Piano, the hot trumpet, and jazz.
Stella’s pregnancy.
The train.
The street vendor cries.
Food and drink: raw meat, the birthday cake, alcohol, the bottle
of beer.
Blanche’s bathing.
The use of allusion and names: ‘Barnum and Bailey world’, Belle
Reve (means “beautiful dream” in French Creole, Blanche duBois
 This
is the play’s dramatic climax.
 Williams
creates an atmosphere of menace in
this scene through visual imagery and sound
effects – the blue piano is threatening in this
scene.

Williams uses visual imagery to reflect Blanche’s mental
state – she is genuinely in danger from Stanley but the
‘Lurid reflections’ and the description of the ‘shadows are
of a grotesque and menacing form’ suggest a deeper
madness in Blanche than distress. This is continued when
Stanley rapes Blanche creating a shocking spectacle and
representing evil.

Her fantasies about the Caribbean cruise, Mitch begging
for forgiveness and trying to call Shep Huntley in vain
further suggest her madness has taken hold.

The scenes of violence around the apartment suggest what
is to come – the prostitute and a drunkard can be seen as
parallels – despite the policeman breaking them up.

Stanley returns from taking Stella to hospital in a
good mood and appears to try and make amends
‘Shall we bury the hatchet and make it a loving-cup?
Huh?’

Blanche refuses and this builds the tension to the
final climax. Blanche explains that ‘Deliberate
cruelty is not forgivable’ and says that she has never
been guilty of it.

Blanche ponders her future, telling Stanley she is still
a woman of intelligence and breeding and saying she
has merely been foolish to ‘cast her pearls before
swine’ – a Biblical reference but one that insults
Stanley.

Colour is used to great effect in this scene – Blanche in her
soiled eveing gown and Stanley’s lurid bowling shirt and
‘gaudy’ wedding night pyjamas.

Blanche is onstage from the beginning in a ‘soiled’ old
evening dress, drinking heavily and talking to imaginary
admirers creating a nightmarish scene.

The evening dress and tiara emphasise what Blanche has
lost and her dramatic action of smashing the looking glass
shows her awareness of her status as a faded beauty.

The mirror breaking also represents bad luck on the way,
further creating a sense of menace.
 Stanley
stands between Blanche and the door
and the blue piano grows louder into the
sound of a locomotive – as Stanley’s
intentions become clear. The end of scene
New Orleans trumpet and drums signal that
Stanley has won.
 Stanley’s
final words ‘We’ve had this date
with each other from the beginning’
acknowledge there has been an underlying
sexual tension between the pair.

In this scene ‘normality’ has been restored. Stanley and his
friends are playing poker and Stella has returned from
hospital yet Stella’s tears point to a difficult and tragic
atmosphere.

Blanche’s fussing over her clothes creates tension and
sympathy for her as she realises that she is not waiting to
be rescued by Shep Huntleigh.

Stella tells Eunice that she ‘couldn’t believe her story and
go on living with Stanley’ - she has made her choice but is
racked with guilt. Like Blanche, she is now creating her
own reality.

Eunice insists to Stella that ‘Life has got to go on’ and the
re-establishment of poker at the end suggests that
bluffing/illusion will continue.
The paper lantern is once again torn down – symbolic of the rape –
Stanley has exposed Blanche to the harshest reality imaginable.
The Varsouviana plays throughout the scene – reminding the
audience of Blanche’s loss of Alan, who she references again
when she daydreams about dying at sea romantically. This
creates a contrast with her actual fate – a living death in a
mental hospital.
She shows a longing for purity – and fears the men in the house
which reiterates her trauma. She comments on the Virgin Mary,
cathedral bells and being buried in a ‘clean white sack’.

Blanche’s fate is representative of an unmarried
woman of the Old South – she is completely
vulnerable. Her manners and delicacy have
proved no match for Stanley’s brutality.

Blanche is established as a tragic heroine, as she
leaves on the doctor’s arm she is dignified and
the rest of the cast stand and watch her
respectfully – contrasted by Stella’s distress.
 Blanche’s
final remark ‘I have always
depended upon the kindness of strangers’ is
full of irony. Blanche has experienced little
kindness. It also echoes her life having been
driven by desire.
 The
play finishes with Stella’s tears, and
Stanley starting to make love to his wife –
leaving the audience with a powerful picture
of desire and back to the symbolic game of
poker.
 1:
What early warning does Stella give
Blanche about her husband, Stanley?
a. Stanley values his privacy.
b. Stanley snores loudly.
c. Stanley’s friends are not the type of
people Blanche is accustomed to.
d. Stanley has bouts of insomnia.
 2:
Who says the following:“. . . a woman’s
charm is fifty percent illusion.”
a. Stella
b. Mitch
c. Blanche
d. Stanley
 3:
What is Blanche’s first impression of
Mitch?
a. He is as crude as Stanley.
b. He is sensitive.
c. He reminds her of her father.
d. He is hiding a secret.
 4:
When Blanche begins dancing to a waltz
on the radio and Mitch tries to follow, what
does Stanley do?
a. He invites Stella to dance with him.
b. He cuts in on Blanche and Mitch.
c. He changes the music to a faster tempo.
d. He throws the radio out the window.
 5:
What happens after Stanley’s friends
force him under the shower?
a. Stella goes to stay with Eunice.
b. Blanche and Mitch resume dancing.
c. Eunice reports domestic violence to the
police.
d. Stanley writes a note of apology.

6: The morning after her fight with Stanley,
Stella tells Blanche
a. to find a new place to live
b. to stop being so excitable
c. that Stanley has agreed to seek counseling
d. that she and Stanley frequently have fights
 7:
Unaware that Stanley is overhearing her
conversation, Blanche tells Stella
a. to leave Stanley
b. to teach Stanley a lesson by taking a lover
c. to ask Mitch to talk to Stanley
d. to not “hang back with the brutes”
 8:
While Blanche is writing a letter to Shep
Huntleigh, Stanley appears and
a. tries to make amends with her
b. asks her to dance with him the way she
did with Mitch
c. indicates he is checking into her
background
d. invites her to come bowling with him

9: What happens when Stella questions Blanche
about her interest in Mitch?
a. Blanche says she has only been flirting.
b. Stanley arrives and begins to mock any possibilities
of Mitch liking her.
c. The newspaper deliveryman interrupts before
Blanche can answer.
d. Blanche admits that she does want Mitch.
 10:
Blanche was once married to a young
man who
a. reminds her of Stanley
b. abandoned her when she became pregnant
c. was having an affair with an older man
d. was jealous of the attentions she got from
other men

11: While Stella is preparing a birthday
celebration for Blanche, Stanley comes home
and tells her
a. he has been given a raise at work and they are
moving to a new city
b. he has changed his mind about Blanche and
wants to find a larger place for them to live
together
c. he has warned Mitch about Blanche’s past
d. his investigations into Blanche’s past have not
revealed anything negative
 12:
What is Stanley’s birthday present to
Blanche?
a. A bus ticket to the one destination she
cannot return to
b. A set of expensive bathing soap
c. A new bathrobe
d. A gift certificate at a restaurant
 13:
What does Stanley do when he returns
home from the hospital where Stella is
having her baby?
a. He calls his friends for a poker game.
b. He rapes Blanche.
c. He takes a long, hot bath.
d. He begins to build a nursery.
 Homework
is due
 Look
at an example essay on “A Streetcar
Named Desire” from SQA and marker’s
comments
 Your
essay question and planning.
 Watch
the film.
 4.
Choose a play in which a character has
to exist in a hostile environment.
 Briefly
describe the environment and discuss
the extent to which it influences your
response to the character’s behaviour and to
the outcome of the play.
 Choose
a character from a play whose fate
is unfortunate or unhappy.
 Show how much of the character’s
misfortune is caused by the personality and
decisions of the character and how much by
other circumstances in the play.
Due for Thursday