A Comparison Of A Street Car Named Desire And A Streetcar Named Memory

Tennessee Williams’ “A Streetcar Named Desire” takes a different twist on sexual temptation and how it affects a woman, a man, a marriage, and on the wider scope of things, a culture. The story essentially centers on the sex lives of a woman, her husband, and her sister, and the plot is driven by how wanton is inevitably their downfall. One-third of this sexually tense trifecta is Blanche DuBois, the “lady” of the three individuals, who takes the ideas of innuendo to a completely different level.

The play A Streetcar Named Desire, by Tennessee Williams, is a play about a woman named Blanche Dubois who goes to live with her sister after she loses her home in Mississippi. Between the hardships of her previous life and the way she is treated now, she is not in a good way by the time the play ends. She basically has a mental breakdown. There are three stages of Blanche’s mental state. She lives in a fantasy, Mitch rejecting her, and Stanley raping her, Blanche is mentally unstable by the end of this ply.

In Tennessee Williams’ play A Streetcar Named Desire, Williams explores the internal conflict of illusion versus reality through the characters. Humans often use illusion to save us pain and it allows us to enjoy pleasure instead. However, as illusion clashes with reality, one can forget the difference between the two. When people are caught up in their illusions, eventually they must face reality even if it is harsh. In the play, Blanche suffers from the struggle of what is real and what is fake because of the difficult events of her past. Blanche comes to her sister Stella seeking aid because she has lost her home, her job, and her family. To deal with this terrible part of her life, she uses fantasy to escape her dreadful reality. Blanche’s embracement of a fantasy world can be categorized by her attempts to revive her youth, her relationship struggles, and attempts to escape her past.

In the classic fairytale of Cinderella, the main character is trapped in an abusive household. However, Cinderella’s self-perception of optimism and hope, enables her to believe that ultimately, her life will naturally improve with these attributes. True to her convictions, Cinderella gets her happily ever after by going to the ball where the prince falls in love with her. Cinderella is saved from her evil. On the other hand, Cinderella can be viewed as a victim who does nothing to enable herself to escape her abusive reality, insteads helplessly waits for fate to intervene. She does not confront the situation nor independently strive to improve her circumstances. Correspondingly, how individuals act when faced with conflict is strongly influenced by their self-perception. It is possible to become confused between reality and illusion, which is determined by their level of self-awareness. In Tennessee Williams’ play, A Streetcar Named Desire, the character of Stella struggles between the control of her husband and sister. Throughout the play, this conflict is demonstrated as she struggles with becoming aware of her abusive household and the contrast to the fairytale illusion she desperately clings to. Ultimately, Stella’s choice to maintain her illusion, rather than confronting her reality, is due to the self-perception of her need to depend on others and desire for idealism, which overall controls her fate.

Both Gatsby and Blanche are vulnerable because of the illusions they create that form part of their identities. In the beginning of their respective novels, The Great Gatsby and A Streetcar Named Desire, they are cunning, calculating, and self-aware of their illusions. They try to escape from their barren pasts and create entirely new, magical lives for themselves, ones that they are able to control. Gatsby exudes power, status, and confidence, “picking his words with great care” at his party so that he can attain Daisy. Blanche is equally careful, telling herself to “ keep hold of [my]self” and restraining the amount of alcohol she drinks. But as the novel progresses and they unravel their true selves, they forget where they stem from and begin to believe in the magical world they are creating. Gatsby becomes so infatuated with Daisy that he completely forgets about the impracticality of their relationship as Daisy is already married to Tom; he thinks that he can “fix everything just the way it was before” with the power of his persona. Similarly, Blanche begins to believe that she can marry Mitch and achieve her dreams of being wealthy, being respected, and having an ideal relationship but without telling anybody about her past. But once they are close to achieving their dreams, their illusions are shattered by more powerful characters in the novel. Daisy openly admits her love for Gatsby, and they begin to regain the love they once shared, but Tom shatters both Gatsby’s

Allusion is a figure of speech, in which one refers covertly or indirectly to an object or circumstance from an external context. In the play A Streetcar Named Desire by Tennessee Williams, Blanche Dubois from the Old South moves to live with her sister Stella Kowalski and her husband Stanley in the New South. Blanche loses contact with the real world because she cannot escape the events of the past. The allusions associated with Blanche and Mitch represent the kind of relationship they have, and foreshadows what will happen to them. My Rosenkavalier represents Blanche’s desire. “Je suis la Dame aux Camellias! Vouz etes- Armnad!” foreshadows that Blanche will forsake Mitch. “And if God choose, I shall but

Marriage is a union between a man and a woman. In the past people saw marriage as a purpose to maintain a house and family. It was viewed differently back then. Women were used to depend on their husbands in a marriage. We see a same theme in the story “A Streetcar Named Desire”. It is similar to “The Yellow Wallpaper”; there is not much difference in both stories. You can see that the both stories are about the dominant personality of man in the marriage, where the women do everything to keep their marriage strong.

When she was young, "sixteen, I made the discovery - love. All at once and

The A Streetcar Named Desire film starring Vivien Leigh and Marlon Brando has several differences from the play. However, the two that are the most significant to me are when Stanley comes into the house unbeknownst to Stella and Blanche, and the very end between Stella and Stanley.

Whoosh! A flash of blue, a glare of red, the glimpse of a golden crest, zipped across the labyrinthian city above the heads of busy commuters. Suddenly, screams of " What was that?!," rose from the astonished crowd below as they craned their necks up to the cerulean blue sky to catch a glimpse. " It's a bird!" proclaimed one man, " No, it's a plane!" shouted another. However, it was neither a bird nor a plane; it was a valiant symbol for all to see. To them, the symbol was a living beacon of hope, safety, and justice. With just that sight, the city was saved, fears were vanquished, and minds were put at ease. Symbolism is a powerful tool in any author's arsenal and used correctly it can foreshadow events and expose character identities. Sometimes, the smallest symbol can give an indication of a deeper meaning. In the Drama, A Streetcar Named Desire, symbolisms such as stark bare lightbulbs and ominous stage directions

A Streetcar Named Desire is a pessimistic work that is the “culmination of a view of life in which evil, or at least undiminished insensitivity, conquers throughout no matter what the protagonistic forces do”(Szeliski 69).  In other words, sensitive individuals all meet a similar fate-crushed under the heels of those who lack sensitivity.

After reading A Streetcar Named Desire by Tennessee Williams and watching the film directed by Elia Kazan, I noticed many differences between them both. The difference for me was tone. As in any book the reader creates the characters, the dialogue is read and the tone and character dynamic is created in the readers own eye. As I read the book, I felt sorry for the Blanche’s character. I felt her story was a cover yet recognized her love and concern for her sister as something that was real and genuine.

In Tennessee Williams’ story, A Streetcar Named Desire, the protagonist, Blanche Dubois is experiencing an early mid-life crisis because she is mentally trapped in a dreamlike past life that has clearly ended. Blanche burningly desires to return to her previous youthful days and tries to avoid accepting the

A Streetcar Named Desire 's original drafts were started in the early 1940s by playwright Tennessee Williams, who prepared and tested numerous titles for the work. Eventually, the completed play opened on December 3, 1947 in New York City staring Marlon Brando as Stanley Kowalski and directed by Elia Kazan. This run of Streetcar lasted 855 performances until 1949 and won Williams a Pulitzer Prize and the New York Drama Critics ' Circle Award. Later, in 1951, the film version was adapted and stared Brando along side Vivien Leigh as Blanche with Kazan holding the seat as director once again. Both the play and film adaptations of A Streetcar Named Desire have received critical acclaim and much success, so much so that Williams work is both

“The best do not stick around when you treat them poorly, only the desperate do”(Shannon L. Alder). In the A Streetcar Names Desire, Tennessee Williams constructs a compelling supporting character, Mitch, a loyal and realistic individual that makes logical decisions for the prosperity of his family; although, he falls short of expectations due to his awkwardness and loneliness, as a result, manifests into the thirst for lust.