Streetcar

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The play, A Streetcar Named Desire, by Tennessee Williams proves to be entirely more complex than it originally seems. Through the deconstruction of the text it is apparent that William's careful construction of the three leading characters is what makes this play so realistic. Through these characters he accurately displays both the flawed and passionate sides of the human condition. His characters are so realistic they prove to represent gender roles. As a result, the play is categorized as a classic piece of American literature because it displays such realistic gender portrays. These characters fascinate people because they reveal something in their own nature.

Blanche is the most obvious example of a hypocritical and therefore flawed character. Throughout the play it is clear that she constructs a false reality in order to escape the problems in her own life. An example of this occurs toward the beginning of the play when Blanche comments on Stella's home. She proclaims, " Oh I'm not going to be hypocritical, I'm going to be honestly critical"(Scene 1, pg1). One of the ironic aspects of this quote is that when stating it, Blanche has already informed Stella that she only consumes one alcoholic drink a day while simultaneously shaking from the necessity for a drink. Clearly, Williams is demonstrates that Blanche is a liar before she openly asserts that she is not a hypocrite. It is clear that the issue of honesty and hypocrisy are important to this play because Williams uses these similar looking, but differencing semantically words next to each other. After deconstructing the text it is clear that he is playing with the notions of hypocrisy and honest criticism. This proves to be a central issue in the play. By placing this quote in the beginning of the story he sets the stage for the irony of the entire play.

The leading male character, Stanley, functions to contrast each of the prominent female characters. He is honest about seemingly everything and the audience is left to make their own decision about his character. Williams presents Stanley as a brute who is who he says he is.

One example that highlights this notion occurs when Stanley initially meets Blanche. He states, " I'm afraid I'll strike you as being the unrefined type" (Scene 1, pg 1). By including this assertion, Williams is clearly setting up Stanley as a flawed, but honest character. He is not portrayed in an overly idealistic and unrealistic manner. Through this quote the audience can begin to understand that Stanley is an overtly masculine man who is not ashamed of his position in life because he has the dignity to come out and state the honest facts about his social standing. The precise language that Williams incorporates helps to display the humble way that Stanley initially approaches Blanche. The words, "I'm afraid", perfectly demonstrate this because he shows that he is not arrogant before he directly states his social position.

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In addition to demonstrating that Stanley is proud of himself, by including this quote, Williams shows that Stanley's personality is contrary to Blanche's. He is different than Blanche because he is honest about and accepting of his status. Conversely, Blanche believes she must put on false airs and perpetuate a phony image in order to impress others. By strategically including these quotes, Williams is informing the audience of the character of both Stanley and Blanche with out revealing too much information and therefore making the play predictable.

Williams relays Stella's imperfections in an ingenious manner. He uses her as a mediator between Stanley and Blanche, her husband and sister. The inevitable strain of her position is clear to the audience. Due to the fact that she is sympathetic to both of them she is frequently caught between them. Williams does this to show Stella's limitation in life is her trusting nature. This blind loyalty is a condition that audiences can relate to because it is quite common. Essentially, Stella uses so much of her effort to please others; she ends up sacrificing her own well being.

This notion is blatantly displayed toward the end of the play when Stella calmly commands, "Take me to the hospital" (Scene 8, pg 11). Williams includes the stage direction, " quietly" preceding this line (Scene 8,pg 11). He does this to show the audience that even when Stella is clearly in desperate need of attention, when she physically requires care, she is considerate of others. This quote accurately displays Stella's character because it shows her thoughtful nature. It is included at the end of the novel because Williams does not want Stella to be the person to reveal herself as the true altruistic character. Consequently he proves the point that genuinely kind and benevolent individuals sometimes do not themselves realize their own unselfishness. Further, once they begin to understand their own capacity for compassion they do not abandon those who need them. Unfortunately this can be a fault because they can unknowingly sacrifice their own happiness.

Another message that Williams relays to the audience is the innately passionate nature of the three central characters. His genius as an author is shown by the way he believably builds the drama in his play. A Streetcar Named Desire is a story of love and loyalty, which are both passionate issues that does not have a predictable ending. As a result, the audience can relate to the play because it is similar to real life. The dramatic scenes in the novel truthfully portray gender roles because they cross taboo boundaries. Williams crosses these boundaries in order to provide the audience with a realistic and therefore compelling tale.

Williams constructs Blanche as the most overtly dramatic character. From the very beginning of the play both through her actions and her words she is shown to be extremely sentimental. He purposefully does this to illustrate to the audience that the issues she pretends to heartily care about are simply manifestations of the reality she had constructed for herself. In actuality, she treats who she genuinely cares for, Stella, with little respect. Only when Stella is in turmoil does Blanche display her true loyalty. Williams shows this to demonstrate to the audience that in true love and loyalty actions speak louder than words.

This idea is highlighted when Stella and Stanley get into a heated argument. When Stella furiously exits the apartment Blanche chases after her. She pleads, " Where is my little sister? Stella? Stella? (Scene , pg 61). Once more, Williams writes stage directions that perfectly accentuate and further the audiences understanding of the scene. Williams describes Blanche as rushing to find "sanctuary" (Scene pg 61). The very use of the word sanctuary suggests the intense and needy feelings Blanche possesses for Stella. Even though she refuses to admit it Stella is the only person willing to support Blanche. She must desperately seek Stella and repeat her name because she knows how well Stella treats her. Basically, Williams unequivocally presents a non-homosexual feminine relationship through Stella and Blanche. Blanche's passionate proclamations highlight this concept.

Furthermore, the relationship between Blanche and Stella portrays a realistic relationship between sisters because their roles are constantly shifting and reversing. Williams juxtaposes the stereotypical roles that these women are supposed to play by creating Blanche as the older sister and Stella as the younger sister. The fact that Williams scripts Blanche to actually come out and state the words, "my little sister", shows that he is contemplating and playing with these roles. In addition, because Blanche repeats Stella's name it is indicative that Williams is trying to insure that the audience realizes Blanche's desperation. It has previously been demonstrated that he displays their intense loyalties, but in addition he shows that they each provide support through non-stereotypical behaviors.

Stella is the younger sister, but her actions show that she plays the role of provider and nurturer that is stereotypically the function of the older sister. Williams defines these roles throughout the play, but especially at the end when Blanche is being taken away. Stella pleads, " Oh, God, oh, please God, don't hurt her! (Scene 11, pg 140). Williams shows that Stella still fervently attempts to defend and protect her sister. It does not matter to her how her sister acts; Stella remains tremendously loyal to her. Williams strategically has Blanche appeal to higher loyalties when she is seeking Stella. The use of the word, "God", and the fact that it is repeated undoubtedly demonstrates that Blanche is desperate to find her sister. The precise language that Williams uses makes this scene realistic. The audience can relate to this portrayal of sisters because it is so accurate.

Stanley proves to be decidedly different from both Stella and Blanche. The stark contrasts between him and the two leading ladies highlights the difference between hetro sexual women and men. Stanley openly and thus passionately displays his loyalty and love for Stella. He attempts to defend her from being manipulated by her sister, but as a result upsets her. While he does offend her, his actions undoubtedly demonstrate that he genuinely cares for and is fanatically in love with Stella. At arguably the most climactic point in this dramatic play, Stanley relays sentiments of desperation. After arguing with Stella he pleads, " Stell-lahhhhh" (Scene , 61). Yet again the precise stage description that Williams adds relays the poignancy of the scene. The description, "with heaven splitting violence," allows the audience to truly understand the extent of Stanley's angst because of the precise description. Williams again has his character appeal to a higher religious idea to relay the intensity of his desire.

The words, heaven and violence suggest completely different concepts. Williams strategically writes them in the same sentence to demonstrate the contradictory nature of Stanley's appeals. He has just insulted Stella, but at the same time cannot handle even the thought of losing her. Williams ingeniously incorporates these contradictory issues that love often encounters in a way that the audience can relate to.

The way that Williams both separates the name Stella and adds three additional letter h's to the name definitely enhances the meaning of this quote. It serves to relay the urgency and passion in Stanley's plea because this type of exaggeration is not characteristic of Stanley. Williams does this to heighten the dramatic effect of this scene.

Since Stanley is an otherwise calm, collected and sensible person, his passionate cries tend to be more meaningful to the audience. Williams has intentionally constructed Stanley as a brute to show that even the toughest men give up their dignity for the woman they love. The description of heaven splitting relays to the audience the profound nature of Stanley's pleas. His desperation for Stella's affection contradicts the role he assumes in all other relationships in the play. This realistic portrayal of Stanley adds to the believability of the entire play.

An ironic aspect of both Stanley and Blanche's entreaties to Stella is that they occur in the same scene. This suggests that Williams strategically set them together to show that in fact these two characters are similar. While Blanche repeats Stella's name, Stanley exaggerates it. Also, in both of their quotes Williams incorporates at least one religious word. With Stanley he uses the word, heaven, and with Blanche he chooses the word, God. Basically through the deconstruction of this text it is clear that Williams intentionally set these two conflicting characters up to show the circularity in their personalities. This is an example of Williams setting up so-called, realities then contradicting them to show the true nature of human beings.

Williams carefully constructs gender specific leading characters in order to display the similarity of the human condition. This play is popular because people can relate to these issues. Specifically, Williams plays with the idea of the flawed nature of humanity. Clearly, these prove to be circular issues that can easily be related to. The tremendous popularity of this play exemplifies this concept. Essentially, because of Williams's ingenious construction of the gender roles in the play, it is an American classic.

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