Later on she teaches American literature at a high school in Laurel. She married Alan and later found out that he was a homosexual.
Alan could not cope with his inability to help Blanche and committed suicide. Blanche went through several relations with soldiers of a nearby camp and finally had a relation to a seventeen year old schoolboy. Therefore she got fired and moved to Elysian Fields in New Orleans where her sister Stella lives with her husband Stanley and where the play starts.
But today Blanche can't feel save within the bounds of the Old South traditions anymore. On the contrary " In the exposition of the play Blanche arrives in her new environment and does not feel very comfortable when she sees how her sister lives.
She probably had hoped that her sister still lives after the old traditions and after all that is why Blanche moved there. Also Blanches evasive explaining of her early arrival before the end of the spring term at the school in Laurel shows us that something went wrong with Blanche. In the following meeting, the discriminated occasion, with Stanley it becomes quite clear that Stanley and Blanche are antagonist and protagonist.
In the following 2nd scene we get to know about Blanches pathological bathing. Just "to quite her nerves" 5 like she told her sister Stella but it "is a nominal gesture of guilt and wished-for redemption. I hurt him that way you would like to hurt me, " 7 That shows her feeling of guilt about the dead of her husband. At that news, Blanche goes to meet Stella la on the sidewalk and tells her that maybe Stanley is "what we need to mix with our blood now that we've lost Belle Reve and have to go on without Bell Reve to protect us " 8.
In the 3rd scene, part of the rising action in the play, another proof of her duality is given. Later on Blanche has a conversation with Mitch a friend of Stanley.
She asks him to put a paper lantern over the bedroom light bulb:"I can't stand a naked light bulb, any more than I can a rough word or a vulgar action. At the end Stella is once more within her husband's primitive embrace, to which she brings the spiritual balance that his unformed vigor demands. Scene 4 opens with the dramatic contrast between Stella and Blanche. The entire scene is a drama of misunderstanding, accentuated by Blanche's wild but purposeless effort to rescue her sister, and thus the family, from animalistic forces, which are presented by Stanley in the opinion of Blanche.
But in the end Stanley triumphs over Stella when he enters the room and Stella rushes to embrace him. After Blanche realizes that she will not long continue to find sanctuary in Stella's home in scene 5 her last hope is a marriage with Mitch.
But even when she is waiting for him to meet her she once more is defeated by the force of her habits. A young man comes to collect newspapers while she is waiting. Blanche has no money, but she flirts with the boy and longingly kisses him on the mouth.
Probably reminding herself of Mitch she says to the boy:"I've got to be good-and keep my hands of children. Home from her late evening date , Blanche has a long scene with Mitch. Her role-playing and pretensions are etched against his good-hearted simplicity. Blanche tells Mitch about the boy she married when she was sixteen. Distant polka music is heard as she recalls how, on the dance floor, she confronted her husband with her discovery of his homosexuality:"I saw!
Tennessee Williams' Play "A Tennessee Williams' "A Stree A Streetcar Named Desire: the symboli The reception of the American Dream i From Stage to Screen - The influence Essay on Literature into Film. Williams, Tennessee - A Streetcar Nam Symbolic devices in A Streetcar name In the Kowalski household, Blanche pretends to be a woman who has never known indignity. Her false propriety is not simply snobbery, however; it constitutes a calculated attempt to make herself appear attractive to new male suitors.
Blanche depends on male sexual admiration for her sense of self-esteem, which means that she has often succumbed to passion. By marrying, Blanche hopes to escape poverty and the bad reputation that haunts her. But because the chivalric Southern gentleman savior and caretaker represented by Shep Huntleigh she hopes will rescue her is extinct, Blanche is left with no realistic possibility of future happiness.
But Blanche also realizes that she must attract men with her physical body. Thus, she does draw Mitch's attention by undressing in the light so that he can see the outline of her body. When Blanche meets Mitch, she realizes that here is a strong harbor where she can rest.
Here is the man who can give her a sense of belonging and who is also captivated by her girlish charms. She deceives him into thinking her prim and proper but in actuality, Blanche would like to be prim and proper. And as she later told Mitch: "inside, I never lied.
She gave of her body but not of her deeper self. To Mitch, she is ready to give her whole being. Then Mitch forces her to admit her past life.
With this revelation, Blanche is deprived of her chief attributes — that is, her illusions and her pretense. She is then forced to admit all of her past. After hearing her confessions, we see that Mitch aligns himself with the Stanley world.
He cannot understand the reasons why Blanche had to give herself to so many people, and, if she did, he thinks that she should have no objections to sleeping with one more man. But Blanche's intimacies have always been with strangers.
She cannot wantonly give herself to someone for whom she has an affection. Thus she forces Mitch to leave. Later that same night when Stanley comes from the hospital, Blanche encounters the same type of brutality. Stanley rapes Blanche, assuming that she has slept with so many men in the past, one more would not matter. In actuality, Blanche's action in the first part of the play indicates that on first acquaintance, when Stanley was a stranger, she desired him or at least flirted with him.
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