A Street Car Named Desire Conflict Essay Example

of concise language such as "Give me two cards," "You, Mitch," "I'm out," and "One." Throughout the book, the confrontation between Blanche and Stanley can be likened to a game of poker.

The poker game is highly significant in the play, as evident from Tennessee Williams' consideration of naming the play "The Poker Night". In the initial four scenes, Blanche skillfully deceives others into perceiving her as a woman with modest rural upbringing and unwavering ethical standards. Despite Stanley's request for her to be transparent, she persists with her deceit. Nevertheless, Stanley embarks on a journey to uncover the truth and subsequently uncovers and exposes Blanche's actual history. With this knowledge, he gains an advantageous position.

Stanley's triumph over Blanche is highlighted by his act of rape towards her. It is worth noting that in the final scene, while Blanche is being taken away, Stanley is winning every hand in a poker game with his friends. This signifies his victory over Blanche. In the opening stage direction of scene three, Williams mentions the picture of Van Gogh's billiard-parlour, which emphasizes its theatricality through art rather than its harsh realities. The "raw colours of childhood's spectrum" and the vibrant shirts worn by the men further reinforce the dominance of males in the house and in the play overall, specifically Stanley's dominance over Stella and Blanche.

One critic suggests that there is a sense of ambiguity in this direction, indicating an "arrested development". On one hand, the vibrant colors of childhood are present, but the men depicted are at the height of their physical maturity. This may be an attempt to undermine the male dominance within the household, which could

be closely tied to Blanche's effort to weaken Stanley and Stella's relationship. Symbolism plays a significant role in the play, as it conveys deeper meanings rather than just literal interpretations. The title itself symbolizes the degradation of Blanche (or society as a whole), possibly caused by their longing for forbidden desires. The very first stage direction reveals that the streetcar terminates at Elysian Fields, a cemetery for heroes.

This brings death directly into the novel, as everyone ultimately dies. Blanche does not physically die, but her demeanor and mental state essentially disappear as she is taken to the mental institute. Williams utilizes props to represent various things in the play. One of these is a liquor bottle, which reappears throughout and has different significance for different characters. For Blanche, it serves as a means to escape the harsh realities of life, allowing her to drown her sorrows that have intensified over her tumultuous existence.

Blanche has turned to alcohol as a form of refuge, as evident in scene 10 when she resorts to breaking a bottle in order to defend herself against Stanley. This act showcases the extent to which Blanche has fallen into a state of misery, having to rely on alcohol as a means of self-protection. Stanley's nonchalant reaction to this attack, grabbing the bottle, suggests that deep down Blanche recognizes that alcohol will not ultimately save her; rather, it is an attempt to escape the harsh realities of her life. Conversely, for Stanley, alcohol transforms him into a more violent and aggressive individual. It is inebriation that drives him to attack Stella, as he declares "We've been drinking beer."

In the penultimate scene, Stanley opens

a beer and a geyser of foam shoots up, symbolizing male ejaculation and highlighting his association with primitive sexuality. By raping Blanche, he demonstrates dominance and achieves his 'victory'. Another symbol of Blanche's breakdown is a mirror in the beginning of scene ten, as described in the stage directions: Blanche has...

The text emphasizes how Blanche has descended into a state of both mental and physical decline due to heavy drinking. It further depicts her severe disdain for the truth by describing how she violently shatters a mirror. Additionally, the stage holds significant symbolism within the play, representing an inescapable physical presence.

The characters are confined in a small place that may represent not just a specific region but also symbolize society as a whole. In the stage performance of 'Streetcar', lighting was used to create the illusion of walls and draw focus to certain characters when they were most prominent. However, light in the novel served as a symbol of truth. Blanche, for various reasons, disliked the light. Firstly, she disliked that it revealed her aging appearance and by obscuring the light, she also obscured others' view of her.

Blanche used the paper lantern and regularly takes baths. These actions can be interpreted in various ways. Literally, the bath symbolizes her desire for cleanliness. Coming from a privileged background, Blanche is unhappy about living in the place that Stanley and Stella call 'home'.

"Is this really her home?" she wonders. However, the bath serves a dual purpose for her. It helps her cleanse herself of the "dirt" that has haunted her throughout her life, considering her troubled past as a prostitute. Through bathing, she rids herself of some

of the burdens she carries. Additionally, the bath becomes an escape from reality, a sanctuary where Blanche can find solace by locking herself away from others, as if seeking protection.

The bath serves as a way for her to escape her past and fantasize about her desires. Additionally, Williams uses the bath as a means to remove Blanche from a scene and isolate her so that other characters can discuss her. This technique keeps Blanche within the confines of the house while allowing others to freely talk about her. Williams often utilizes sounds to emphasize his message, with various sounds serving as symbols for current situations in the play. For example, the screeching of a cat is a recurring sound in the opening scenes.

This is the beginning of Blanche's journey into madness. The sound of trains and thunder symbolize her troubled past catching up with her. Initially, these sounds are faint and far away, but gradually they grow louder until they surround her completely. Blanche ultimately finds herself unable to escape her past, leaving her feeling helpless.

The power of these sounds also symbolized Stanley's control and violence towards Blanche. The fact that the trains led to 'cemeteries' suggests that society as a whole was rapidly heading towards its demise, the decline of civilization. There are multiple pieces of music in the play that portray different emotions found within the storyline. The introduction of the Blue Piano in the initial stage direction signifies the assimilation of black-American culture into white society.

The music style mirrors the conflicting nature of society, combining joy and sorrow. The Blue piano represents both despair and optimism, showcasing the endurance found even

in the most dilapidated neighborhoods. Additionally, it symbolizes Stanley's primal life force. Another musical element in the play is the Varsouviana, a Polka melody.

Blanche is reminded of her past yet again, just like the sound of thunder and trains. This reminder specifically brings her back to the death of her boyfriend Allan. The death and memories of this event represent Blanche's efforts to escape her past, but it is a past that always catches up with her. Allan's death also represents the pain Blanche has endured and the repeated disappointments she has faced, which could generate a great deal of empathy for her. Williams once expressed that poetry does not always have to be in the form of words; it can also be found in situations. In 'A Streetcar Named Desire,' Williams explores the use of symbols, props, and sounds to highlight the messages he aims to convey.

The play serves as a metaphor for the overall decay of society, illustrating that brute force will always triumph over "fantasy" and desire.