But on the other hand, men lose interest quickly" (Williams 81). She believes the way to catch a man (which she believes she must do to stay alive), is to act innocent and girlish, and she is not innocent and girlish at all. This shows how tragic her character is, and how self-defeating her dreams and hopes are, because she is setting herself up for failure, and she will not admit it. From the beginning of the play, the reader knows Blanche is a lost woman, left without a home, her attraction to younger men, and the death of her husband by suicide. The reader also sees that she has problems with drinking and sexual behavior. Overall, she is nothing but an empty human in society; she belongs nowhere, not even with her sister. She continually makes the same mistakes...
Mitch represented a new hope, even though he was not the ideal men she was looking for, but he was the one and only chance of companionship and support. He represents her dependence on others, as well. She tells Stella, "I want to be near you, got to be with somebody, I can't be alone!" (Williams 15). This indicates how desperate she is for a relationship and lover. She is older, and he is single with a dying mother. The two of them seem right enough for each other, at least if she is willing to settle for something less. Their relationship is mostly sexual, but true to her nature, Blanche pretends to act
Streetcar Named Desire and the Snows of Kilimanjaro The epigraph of Tennessee Williams' classic play A Streetcar Named Desire contains a quote from Hart Crane's poem The Broken Tower: "And so it was I entered the broken world / To trace the visionary company of love, its voice/An instant in the wind (I know not whither hurled)/But not for long to hold each desperate choice" (1947). Ernest Hemingway also elected
Streetcar Named Desire is a 1947 play by Tennessee Williams that explores the relationships between Stella (DuBois) and Stanley Kowalski and Blanche DuBois, Stella's sister. In the play, Williams analyzes how social constructs and expectations influenced Blanche's behavior and the factors that contributed to her mental breakdown. Blanche's mental breakdown piques towards the end of the play, however, it can be argued that Blanche was psychologically damaged before she arrived
Tennessee Williams' "Streetcar Named Desire" & social class theories of Karl Marx This paper presents a detailed examination of Tennessee Williams' "Streetcar Named Desire. The writer of this paper holds the play up to be examined under the light of social and class theories as ascribed to by Karl Marx. There were two sources used to complete this paper. Marxism in Art Many times authors use their works o purposely display a social
Streetcar Named Desire Blanche is a person of imaginative and false illusions, whereas Stanley is a creature of bestial reality. Although the binary holds firm throughout A Streetcar Named Desire, Blanche and Stanley are multifaceted and complex characters that preclude oversimplification. For example, Blanche's imaginative and false illusions are exacerbated and enhanced by her devotion to the drink. Her compulsive and excessive drinking prove to be expressions or symptoms of her
Streetcar Named Desire Long Days Journey Night ( Scenes Acts Correspondigly- Introduction-role Stage Directions-themes-character Development-setting-structure -- Dramatic A Streetcar Named Desire" and "Long Day's Journey Into Night" Tennessee Williams' "A Streetcar Named Desire" and Eugene O'Neil's "Long Day's Journey Into Night" both deal with the physical and mental difficulties that people encounter partly as a result of being unwilling to accept their condition and partly because of the set of problems
Forrest Gump and Streetcar Comparing and Contrasting Feminine Constructs in a Streetcar Named Desire and Forrest Gump In A Streetcar Named Desire, Blanche Dubois -- the self-deluded Southern Belle -- leaves her home (and her world) for the primal, modern world of the Kowalskis. In doing so, she travels via the Desire, which serves as both the name of the streetcar in New Orleans and as an ironic symbol of that which
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