Symbolism of the Lantern in William´s A Streetcar Named Desire

It is clear that Blanche DuBois is willing to do what she believes is necessary to get what she wants. This often includes deceit. She feels that she needs to lie about herself in order to seem more appealing. Because Blanche is so afraid of aging, she keeps her age to herself. While she is dating Mitch, she often deceives him by never letting him see her in bright light in order to conceal her faded looks. When she comes to New Orleans, Blanche does not tell her sister that she was fired from her job; she says that she is merely taking a vacation from the job. She says this in order to keep up the fake persona she holds. Blanche is very open about her lies with her sister. “I know I fib a good deal. After all, a woman's charm is fifty per cent illusion, but when a thing is important I tell the truth.” (69) This shows that Blanche’s lifelong choice of avoiding harsh realities leads to her breakdown. With all of the lies and deceit Blanche tells, she is living an unreal existence.

One of the roles of this excerpt is to provide the background towards understanding Blanche, and the justifications for her mental state and actions. It is evident that in the past she belonged to a higher class where extravagance was common. But when her family in

Throughout the novel, multiple different symbols are being portrayed, although the symbol of light depicts the full meaning of the characters and theme of Anthem. Ayn Rand uses light to symbolize knowledge, hope, freedom, and life. The light symbolizes hope since, it shows how Equality separates himself from collectivism and thinks for himself when he proclaims “We made it. We created it. We brought it forth from the night of the ages. We alone. Our hands. Our mind. Ours alone and only” (59). By contrast to the light of the box, the City is dark and only lit by candlelight. Therefore the light shows the hope that Equality and all others have of breaking away from the collective society and becoming individuals and to have freedom to be themselves. The discovery of light starts Equality's journey of changing the society and granted him the chance to create a new world where light and other things from the Unmentionable Times exist.

Blanche repeatedly lied to make herself look pure to others. It only served as a masquerade to hide her dirty, sinful reality. She lied about her age, alcoholism, promiscuity, and why she had to leave Laurel. When Stanley asked her if she wanted a shot, she replied, “No, I—rarely touch it” (Scene 1, page 1548). She could not confront her reality, so she retreated to her world of illusion. This was Blanche’s most prominent flaw. If she could have accepted things for what they are, she could have salvaged her sanity. If, from the beginning, she had been truthful to Stanley’s friend Mitch, he could have forgiven her. Dismally, Mitch would not trust her after finding out everything she said was fabricated. “I don’t want realism. I want magic! Yes, yes, magic! I try to give that to people. I misrepresent things to them. I don’t tell truth, I tell what ought to be truth. And if that is sinful, then let me be damned for it” (Scene 9, page 1590). Blanche feared lights which symbolized her fear of reality. She claimed that with Alan’s death, all light had gone out of her life. “And then the searchlight which had been turned on the world was turned off again and never for one moment since has there been any light that’s stronger than this—kitchen candle.”

Blanche is unable to cope with her loss of her fortunes and estate at Bell Reve, and the abrupt social shift erupted after World War Two, and this inability to adapt shapes her ultimate anagorisis. In addition, Blanche’s botched relationship with Allen Gray and his subsequent suicide were in all likelihood even larger catalysts for her plunge into delusion. In addition to having a more externally-catalyzed delusion, Blanche more selectively and maliciously employs her delusion. Williams continually points this out throughout the play with profuse use of a metaphorical light to represent truth. The employment of this metaphor reveals to Blanche’s fear of the truth, shown in “…turn that over-light off. I won’t be looked at in this merciless glare!” The clear link to Willy Loman here is that both characters refuse to hear the truth in fear of what it might destroy, whereas in actual fact only through letting go of the past will they reach a true stage of final

The most obvious symbol used in A Streetcar Named Desire is its title and the actual reference, in the play, to the streetcars named Desire and Cemeteries. They are the means by which Blanche was brought to the home of Stanley and Stella and, as the play unfolds, we realize the names of the streetcars have a greater significance. Blanche's instructions were to “take a streetcar named Desire, and then transfer to one called Cemeteries." When Blanche first arrives she is possessed by a desire for love and understanding, but always in the background lurks the fear of death and destruction. If the one cannot be obtained, a transfer to the other will be the inevitable alternative. Blanche indicates this in her speech to Mitch in scene

Blanches’ emotional state of mind is also conspicuous at the start of the play as she circumvents direct light, fearful of showing her fading looks and the light would make her vulnerable to the truth. Blanche is unable to withstand harsh light, calling the light a ‘merciless glare’(S1:pg.120*) because with Allan’s death, the light had gone out of her life and the effect this had is that she wanted dim lights hiding the reality of her painful memories. This links to the theme of dream and reality as Blanche, a delicate character, refused ‘to accept the reality of her life and attempts to live under illusion’ (*2), living on the borders of life similar to a moth which creates the image of Blanches’ fragility.

In the opening of the play Blanche says, “They told [her] to take a street-car named Desire, and then transfer to one called Cemeteries and ride six blocks and get off at—at Elysian Fields!”(1.1). This sentence sets the theme for the entire play. The streetcar “Desire” brought her to Stella’s home, but symbolically it shows that Blanche’s

In scene nine, Blanche is confronted by Mitch, who has learned the truth about her past. Mitch tells Blanche that he has never seen her in the light. He tears Blanche's paper lantern off of the plain, bright light bulb, and tries to see her as she really is, and not in a view warped by Blanche's efforts to make herself seem more innocent, young, and beautiful than she is. Blanche responds to

Both Blanche and the grandmother shelter themselves from threats––verbal, physical, or reputational––by using their gender as a shield. In a conversation with Stanley, Blanche claims that “a woman’s charm is fifty per cent illusion” (91). She hides behind her identity as a woman to vindicate her deceit. Alone and heartbroken, she desperately attempts to marry Mitch for financial security, yet again utilizing her femininity for

Blanche deals with many issues the loss of loved ones, the loss of the family estate, the inability to deal with reality, rejection from others, and the rape by Stanley. Blanche has also become independent and assertive which is not the typical norm of a southern woman. She has been forced into a world she is not prepared for. Because of this Blanche begins to live in her own world, her own little fantasy. She also uses alcohol and sexual promiscuity to escape from the loneliness she has endured since her husband’s death. Williams shows us through the way Blanche speaks to the paper boy;

dark is also used throughout the play to help convey the theme illusion vs. reality. One example of this is the paper lantern. Blanche covers the exposed light bulb in the Kowalski’s apartment with a chinese paper lantern. “ I bought this adorable little paper lantern, put it over the light bulb!” (60). Blanche’s colored paper lantern was a approach to create her own beautiful world to mask the hideous reality that she does not want to deal with. However, when Mitch finds out the truth about Blanche, she finally admits that she tried to disguise the harsh reality. “ I don’t want realism. I want magic. Yes, yes magic!”(117). Another example how darkness and light express this theme is Stanley Kowalski’s violent nature. In the beginning of the play, he is displayed as a likeable person, as he is faithful to his friends and passionate about his wife. However, Stanley’s pleasant and good-natured character is found to be harsh and detrimental. Later in the play, he beats his wife and rapes his sister-in-law. Williams displays his true image when describing Stanley’s monstrous and menacing shadows that appear on the wall before he rapes Blanche. This theme is also shown by Stanley’s wife, Stella

In the poem, the lantern represents the narrator’s defense against the old man and his evil eye, yet it proves that he has a mental incapability to see the insane murderer that he is.

Tennessee Williams has also made use of symbols - and his consistency in using them is very helpful to the audience to grasp the ideas he is putting across. The very names of the characters and places are symbolic. The famous streetcar that brings Blanche to her sister’s house is called ‘Desire’ - desire being one of the main themes in the play. Interestingly, it is the superintendent of the school in Laurel - Mr. Graves - who is one of the main causes for Blanche having to make this journey, from a streetcar named ‘Desire’ to one called ‘Cemeteries’ and finally to her sister’s house, situated in Elysian Fields - the Elysian Fields being the dwelling place of virtuous people after death (in Greek mythology). Blanche DuBois itself means ‘white woods’ as she tells Mitch - which implies something virginal and unsullied - both of which she is not. Stella means star: “Stella, oh Stella, Stella! Stella for Star!” as Blanche cries wildly, yet Stella burns not with the intensity of Blanche. Her passions are different, and she is extremely unlike her namesake. Even the home of the DuBois - Belle Reve - means ‘beautiful dream’, symbolic of the past that has gone forever, and Blanche’s inability to rouse herself from her dreamworld of illusions and magic. This use of irony is

She had many ways to gussy up, Blanche always needed compliments and admiration to get throughout the day. Stella exclaims “and admire her dress and tell her she’s looking wonderful. That’s important with Blanche” (Williams 33). In the dimness preferred “she smells sweet and appears on the outside” (Clough n.p.). Blanche owned pieces of clothing that seem to be expensive but really were just cheap pieces of clothing. Not so promising to Stanley, “look at these furs that she comes here to preen herself in! Whats this here? A solid gold dress, I believe! And this one! What is these here? Fox pieces! Genuine fox fur-pieces, a half a mile long” (Williams 35). Blanche also had what was assumed to be expensive jewelry collection but was just simple costume jewelry. “And diamonds! A crown for an impress!” (Williams 36). “She perceives herself as a beautiful object which has to be properly decorated in order to sell well” (Oklopcic n.p.). Even with a great outer appearance Blanche was still ugly on the inside and she knew this. She hated looking at herself in the mirror or being in front of Mitch without being properly dressed. Blanche portrayed herself as having manners, she expected men to stand at her appearance and grant her with