Fantasy/Illusion: Blanche dwells in illusion; fantasy is her primary means of self-defense. Her deceits do not carry any trace of malice; rather, they come from her weakness and inability to confront the truth head-on. She tells things not as they are, but as they ought to be. For her, fantasy has a liberating magic that protects her from the tragedies she has had to endure. Unfortunately, this defense is frail and will be shattered by Stanley. In the end, Stanley and Stella will also resort to a kind of illusion: Stella will force herself to believe that Blanche's accusations against Stanley are false.
The Old South and the New South: Stella and Blanche come from a world that is rapidly dying. Belle Reve, their family's ancestral plantation, has been lost. The two sisters, symbolically, are the last living members of their family. Stella will mingle her blood with a man of blue-collar stock, and Blanche will enter the world of madness. Stanley represents the new order of the South: chivalry is dead, replaced by a "rat race," to which Stanley makes several proud illusions.
Cruelty: The only unforgivable crime, according to Blanche, is deliberate cruelty. This sin is Stanley's specialty. His final assault against Blanche is a merciless attack against an already-beaten foe. On the other hand, though Blanche is dishonest, she never lies out of malice. Her cruelty is unintentional; often, she lies in a vain effort to plays. Throughout Streetcar, we see the full range of cruelty, from Blanche's well-intentioned deceits to Stella self-deceiving treachery to Stanley's deliberate and unchecked malice. In Williams' plays, there are many ways to hurt someone. And some are worse than others.
The Primitive and the Primal: Blanche often speaks of Stanley as ape-like and primitive. Stanley represents a very unrefined manhood, a romantic idea of man untouched by civilization and its effeminizing influences. His appeal is clear: Stella cannot resist him, and even Blanche, though repulsed, is on some level drawn to him. Stanley's unrefined nature also includes a terrifying amorality. The service of his desire is central to who he is; he has no qualms about driving his sister-in-law to madness, or raping her.
Desire: Closely related to the theme above, desire is the central theme of the play. Blanche seeks to deny it, although we learn later in the play that desire is one of her driving motivations; her desires have caused her to be driven out of town. Desire, and not intellectual or spiritual intimacy, is the heart of Stella's and Stanley's relationship. Desire is Blanche's undoing, because she cannot find a healthy way of dealing with it: she is always either trying to suppress it or pursuing it with abandon. .[“BLA: To, o čom hovoríš, je brutálna túžba – iba túžba! meno tej rozheganej električky, ktorá hrkoce po Quarteri, po jednej úzkej ulici hore, po druhej dolu . . . STE: Cestovala si už tou električkou? BLA: Priviezla ma sem. – Kde nie som vítaná a kde sa hanbím, že som . . .“ pg. 50]
Loneliness: The companion theme to desire; between these two extremes, Blanche is lost. She desperately seeks companionship and protection in the arms of strangers. And she has never recovered from her tragic and consuming love for her first husband. Blanche is in need of a defender. But in New Orleans, she will find instead the predatory and merciless Stanley.
Drunkenness: Both Stanley and Blanche drink excessively at various points during the play. Stanley’s drinking is social: he drinks with his friends at the bar, during their poker games, and to celebrate the birth of his child. Blanche’s drinking, on the other hand, is anti-social, and she tries to keep it a secret. She drinks on the sly in order to withdraw from harsh reality. A state of drunken stupor enables her to take a flight of imagination, such as concocting a getaway with Shep Huntleigh. For both characters, drinking leads to destructive behavior: Stanley commits domestic violence, and Blanche deludes herself. Yet Stanley is able to rebound from his drunken escapades, whereas alcohol augments Blanche’s gradual departure from sanity.
Ďaľšie referáty z kategórie
Tennessee Williams: A streetcar named desire
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|Tennessee Williams: A Streetcar Named Desire||GYM||2.9710||1453 slov|