Scene 1
Summary
The play opens with a discussion between Eunice and a black woman (dubbed ‘Negro Woman’) in a “two story corner building named Elysian Fields”, set in post-war New Orleans. Stella and Stanley’s ‘affectionate’ relationship is introduced prior to the arrival of Blanche DuBois (Stella’s sister). Blanche is initially confused, given the irony of the building where Stella resides, compounded by Stella not being at home (rather, her being away watching Stanley and his friends bowl). Eunice dutifully fetches Stella for Blanche and whilst the sisters catch up, Blanche’s creeping alcoholism is introduced. Blanche’s background is made aware to the audience, being a school-teacher who “resigned”, and she continues to fish for compliments about her appearance. Blanche is clearly uncomfortable in her modest surroundings, and it is revealed that the family land; Belle Reve had been lost inexplicably. When questioned about it, Blanche becomes defensive. The scene ends with first meeting of Stanley and Blanche, which is immediately rife with tension and subtle animosity; Blanche condescending to Stanley.
Analysis
- Elysian Fields is named in irony as it is described as “rickety” and “weathered grey”, which contrasts with the Elysian description. Williams may have done this to mirror Blanche DuBois’ perception of Stella’s way of life compared to her recent financial turmoil.
- Stan and Stella’s relationship is immediately introduced as positive (in comparison to it at a later stage during Blanche’s stay) through Stan shouting “Hey, there! Stella, Baby!”. ‘Baby’ is capitalised which suggests that Stan values her, and has an affectionate name for her. ‘Baby’ is a proper noun as opposed to an adjective. In addition, the fact that he ‘bellows’ is an early indicator of the flame that stokes their love. Stella is attracted to his rugged animalistic characteristics, whereby he doesn’t always take note of etiquette. Her “mild” response to loud and disturbing behaviour indicates that later on in the play when they argue, her qualm is not necessarily to do with his loud and destructive behaviour.
- When Blanche speaks about taking a streetcar named desire she is arguably beginning her journey to death, “They told me to take a streetcar named Desire”. In Scene 9 Blanche mentions that the opposite of death is desire. If she is has used desire and is no longer using it, she must be en route to death. This fits with the plot as her descent to insanity could potentially result in death. Alternatively, it could be seen as her search for a replacement for her dead husband, as she later courts with Mitch.
- Class orientated tension is introduced early, which sets the standard for the rest of the play. Blanche is uncomfortable in the presence of Eunice and her surroundings, “Yes [wanting to get rid of her]…”, “What I meant was I’d like to be left alone”. Blanche is (or appears to be) a Southern belle from Mississippi, living in a small enough township for most people to know her (in reference to Shaw). New Orleans is a cosmopolitan city, and Elysian Fields is described in an unpleasant fashion, suggesting that Blanche may be uncomfortable in the vast change of environment.
Scene 2
Summary
The scene begins with Blanche in the bath and Stella explaining to Stanley that she can’t cook dinner for him that night because she is taking her sister out. Stanley is less than pleased by this but remains civil, however his attitude towards Blanche continues to deteriorate. Stella also implores Stanley to give Blanche lots of compliments about her appearance and not to mention the fact that she’s pregnant to her for fear that it might upset or unnerve her. Before the pair leave, Stanley is aggrieved by the loss of land. He suggests that he is subject the Napoleonic code, whereby his spouse’s loss is his shared loss too. Further, he finds it suspicious that Blanche has a vast material wealth (jewellery and clothing), but is strangely without her land. Stella is eager to defend her sister, which sparks a disagreement between herself and her husband. It is clear that the DuBois family and the Kowalksi families do not see eye to eye on a number of matters. Blanche continues to patronise Stanley, describing him as ‘primitive’ and antagonising him. After a while, Stanley begins to press Blanche about the details of her sudden loss of land, and after hitting a brick wall, he breaks the news to her that Stella is having a baby, to which she reacts with jubilation.
Analysis
- The ‘blue piano music’, which is “perpetual” coming from The Deuces bar symbolises life and vibrancy. It is no coincidence that it is played in New Orleans, as it’s a vibrant, cosmopolitan city full of life. Whilst the audience is made aware of the music (as it starts), Blanche is not physically in the scene; rather, she is in the bath. Her lack of presence may suggest that she is detached from life, which fits in with her arguable attraction to death (see Scene 1 analysis).
- Stan’s personality is shown by Williams in greater depth, and he appears more self-obsessed and financially driven than previously thought. This coincides with the arrival of Blanche, “When you’re swindled under Napoleonic code I’m swindled too”. This gives the impression that his main concern is that he stands to lose out of something, as opposed to the welfare of his wife or his sister in law.
- The financial strain that Stan is suddenly under as a result of Blanche’s careless actions (or careless as he perceives) influences his relationship with Stella, “it looks like you’ve been swindled, baby…” Compared to when Blanche hadn’t arrived, the lack of capitalisation on ‘baby’ indicates a reduced sense of affection, and could be interpreted in a derogatory sense. It could be argued that Stan considers it infantile (even if very subtly) that she has no untoward feelings towards Blanche’s loss of Belle Reve.
Scene 3
Summary
The scene opens with Pablo, Mitch, Steve and Stanley all playing poker in Stella and Stanley’s flat. Mitch’s identity is revealed in greater depth after a very brief cameo in scene 1 as a caring character, having to look after his sick and elderly mother. Upon entering the scene, Blanche and Stella attempt conversation with Stanley, but are met with a gruff response, suggesting that they should not prying and leave him and his friends to play poker. Whilst Stanley becomes increasingly angry, Mitch and Blanche meet are engage in small-talk, lighting a shimmering flame of attraction. Stanley eventually loses his temper and smashes a radio, distressing Stella enough to order all of his friends out of the flat. Stanley, in a drunken rage hits Stella, but is held back from further violence by his friends (Mitch being the leading advocate of peace). After recovering from his stupor, Stanley seeks reconciliation with Stella but has limited success, while Blanche is mortified by the whole ordeal. However, in the midst of the chaos, her fledgling romance with Mitch continues to develop.
Analysis
- Blanche’s delicacy is revealed through her need for reassurance of her image, “How do I look? ... Wait till I power before I open the door. Do I look done?” Blanche is obsessed with her own aesthetics are seldom speaks of other subjects. This suggests that she is concerned with maintaining a certain image and doesn’t want other people to see her when she isn’t painting an illusion of herself.
- In response to Blanche’s compliment fishing and need for reassurance, Stella appeases her wishes persistently, “Lovely Blanche…” Some might argue that Stella is aware of Blanche’s fragile state and doesn’t wish to impinge on her charade for fear of upsetting her.
- Stan’s relationship with Blanche is one of contempt when she asks, “Could I kibitz?” Stan replies with, “You could not”. Stanley appears to be sneering at her, by using ‘could’. He mimics and mocks her polite asking of permission to be more spiteful. He then introduces the theme of gender division with “Why don’t you women go up and sit with Eunice?” Despite only having quarrel with Blanche, he speaks to both Blanche and his wife collectively as women and asks them to leave, suggesting they stay with Eunice; another woman. This is even more poignant in revealing Stan’s character given the historical context. After World War 2, many women had taken up previously male jobs due to men being enlisted to fight in Europe. In an age where women’s rights and social standing was rapidly growing, such sexism seems somewhat out of place and behind the time.
- On page 31 when the rhumba music is turned on, it marks a point where Stan becomes more animated and angered. Williams is effectively using music to depict the ambience at the time and continues to do so throughout the play (blue piano suggests life and vibrancy, whilst polka music is indicative of darkness and death).
- Blanche’s tendency to lie in order to create a desired illusion is illustrated in her initial talks with Mitch, “Married? No no, I’m an old maid school teacher!” This is said, despite her already mentioning previously that she had resigned, so cannot truly claim the title of ‘school teacher’. Instead, she bends the truth about her occupation to appear more desirable to a potential suitor.
Scene 4
Summary
Blanche approaches Stella the morning after the ruckus and is amazed over how nonchalant she is. Blanche then muses over ‘Shep Huntleigh’, a billion who she claims friendship with, and goes on to touch on her financial situation, insofar as her being low on funds. She then goes on to “speak plainly” to Stella and explain her detest for Stan, comparing him to an animal and not understanding Stella’s attraction to such a beast, imploring her to leave him. Stella’s reaction to this is to hug Stan as he comes home in full view of Blanche.
Analysis
- Blanche’s opinion of men is revealed to a greater extent. She appears to hold the belief that women are in some way superior, “And you – let him?” Williams puts ‘let’ in italics to suggest that Blanche expects Stella to exert physical control and dominance over her husband, and perhaps grant permission due to her superiority. This could be Williams making a statement about the clash of characters in Blanche and Stan. As seen in Scene 3, Stan’s beliefs could be interpreted as sexism, whereas Blanche’s could be seen as a rudimentary version of feminism. The juxtaposition of personalities is a time bomb waiting to explode, and eventually does. Further evidence for this argument can be seen when she speaks to Stella about Mitch, “This one is superior” Blanche objectifies men, much like men did to women in that time.
- Williams introduces more irony to Blanche’s character, with humorous undertones when she confronts Stella over Stan’s domestic abuse, “Pull yourself together and face facts.” Blanche had already been notorious for creating an illusion and blunting lying to preserve her image and perhaps her sanity; yet she requests her sister to do the opposite. Due to Stella’s light-hearted approach to Blanche’s hysterics, her hypocrisy is watered down and almost amicable.
- The scene closes with Williams giving a vivid description of Stella and Stan’s embrace, “Stella has embraced him with both arms, fiercely, and full in the view of Blanche…” The significance of this is that it demonstrates Stella siding with her husband over her sister; a trend that remains consistent throughout the play and is integral to the plot. After Blanche’s tirade over Stan’s behaviour, Stella does not answer her, condemn her words or mock her; she merely hugs Stan to make a very clear point. Her actions are not spiteful because they are not exaggerated or unnecessary. Compared to Stan’s reaction, where he does appear to be spiteful, knowing full well how she feels about him, “He grins at Blanche” He’s intentionally demonstrating that he is happy, contrasted with her distress, his spite is apparent. At the same time, Williams continues to use music to denote Blanche’s association with death, “…the music of the ‘blue piano’ and trumpet and drums is heard”. The music itself is lively, and signifies Stan’s triumph over Blanche, as the scene ends with her silent and uninvolved; the focus is clearly on the couple.
Scene 5
Summary
Blanche indulges in lies as she writes a grossly inaccurate letter to Shep Huntleigh. Stanley informs Blanche that he met a man named Shaw who claims to have met Blanche at a hotel called the Flamingo. Blanche nervously denies having met the man and insists that he must have her mixed up with some "other party" as the Hotel Flamingo is not the kind of establishment she would dare to be seen in. Blanche’s nerves are jittery and she is obviously not comfortable in Stan’s presence (and vice versa). Despite her flirting with Mitch, she focuses her seductive efforts on a young man collecting for the local paper.
Analysis
- Blanche continues to lie; now openly in Stella’s presence in an attempt to boast to Shep Huntleigh, despite her on-going courtship with Mitch, “Perhaps I shall take a sudden notion to swoop down on Dallas! How would you feel about that? Blanche appears to be so desperate for attention from a man that she’s willing to attract multiple men. In addition to this, her need to lie to create an illusion is heightened at this point and she makes Stella aware of it. The stage directions used by Williams, “[going on nervously]” suggest that Blanche lies to combat her fragile state, perhaps compulsively.
- She also places her image on a pedestal above most other things, “Most of my sister’s friends go north in the summer but some have homes on the Gulf…” In an effort to make her lifestyle (and those attached to her) seem more luxurious and attractive, Blanche risks insulting her sister and her friends, inferring that Stella and her friends aren’t debonair or rich enough for her liking.
- On page 53 Blanche launches in a lengthy outcry to Stella about how her looks are fading and she fears that she will never find safety nor love; however it becomes apparent that she has a very strong distaste for men, “People don’t see you – men don’t – don’t even admit your existence unless they are making love to you”. The emphasis on men, with Williams italicising it suggests that Blanche has been personally hurt by men, as a collective and plural. This is probably in reference to the men she slept with in The Flamingo hotel; as she goes on to mention ‘making love’. The inclusion of this phrase, as opposed to ‘sex’, suggests that isn’t completely detached from the men she slept with and perhaps has some vague hope that one of them will be the man she is searching for in replacement of her late husband. ‘Making love’ is a very intimate and somewhat ambiguous term, often used between couples who are indeed, in love. However, ‘sex’ is more carnal and would be better used to describe the temporary affairs that Blanche had with multiple men. She appears emotionally confused and desperate for love.
Scene 6
Summary
Mitch and Blanche’s courtship continues to bloom after they visit an amusement park and return to exchange pleasantries in an intimate atmosphere. Blanche confides in Mitch the details of her first love and his suicide. Mitch then suggests that their flirting turn into more of a relationship, much to Blanche’s elation.
Analysis
- Blanche’s behaviour and attitude changes when she is with somebody she desires, in this case, Mitch, “MITCH: Which law is that? BLANCHE: The one that says the lady must entertain the gentleman…” This belief flatly contradicts her anti-masculine attitude (mostly towards Stan) in previous scenes. She adopts a more contemporary, dutiful position on the role of the woman within relationships and courtships. The overall erratic state of Blanche’s behaviour indicates that she may not be completely stable, both mentally and emotionally.
- She lays further hints about her promiscuity in her home town of Laurel, “It was the other little –familiarity…” Her memories from her multiple brief exchanges in Laurel are haunting her and delaying her search for a replacement husband.
- Blanche continues to attempt to create an illusion that might draw her more favour from suitors, particularly Mitch, by speaking French, “voulez-vous couches avec moi, ce soir?” This translates as ‘would you like to spend the evening with me?’ and makes her intentions clear, but when she realises that Mitch does not understand her, she persists in speaking French to appear more intelligent, cultured and travelled, imagining all of those qualities to be highly desirable. It could be argued that she speaks in French to such an extent that she is talking to herself, which is indicative of a disintegrating mind.
- Despite her personal shortcomings, Blanche does appear to make a real effort to get Mitch to like her. She enquires about his coat and tries to seem interested,” This is a nice coat. What kind of material is it? … Oh. Light weight alpaca.” In repeating what Stan had said, it could well be seen as an effort to connect with him and find common interests, strengthening a potential relationship.
Scene 7
Summary
It’s Blanche’s birthday and whilst she stews in her bath, Stan tells Stella that she’s been lied to by her sister persistently. He discovered through a number of contacts in the house town of the DuBois family (Laurel) that Blanche lost her job at the school for an incident sexual encounter with a seventeen year old student. Furthermore, that she did stay in the Flamingo, but her sexual encounters were so numerous that even the seediest of establishments turned her away. He goes on to warn Mitch that her aim (as it had been in the past) was to court with and try to marry men that she could leech money and residence off, owing to her being destitute and poor. He now finds the farcical imagine of being a well to do, upper class belle even more contemptible because she had been lying to such degrees. Stella continues to defend her sibling and refuses to believe everything that Stan says; only accepting a limited version of events. In response, Stan tells Stella that he’s bought Blanche a bus ticket home, not being able to stand her incessant condescension and unpleasant remarks.
Analysis
- Williams reintroduces class conflict as a basis for the animosity between Stan and Blanche, “…and serve ‘em to Her Majesty in the tub … That girl calls me common!” Stan is of the impression that Stella regards Blanche in a regal manner, serving her every whim, and seems jealous that she receives special attention where he doesn’t. Further, in defence of being called ‘common’ (typically a class orientated insult, aimed at lower and working class people being inferior to middle class and aristocracy), Williams makes a point of italicising Stan’s ‘me’, making his qualm less about class and more his ego. He views it as a personal attack, rather than a class-motivated one, and is inferring that Blanche holds more undesirable qualities than him. This could be one of Williams’ messages regarding class conflict. Karl Marx wrote about class division being an evil of western society, and sought to change Russia into one devoid of such evils (and turn it into a Communist society), and late 1940s North America was ripe with McCarthyism, following the Second Red Scare. Blanche initially appears to be appalled by the lower classes that she finds herself amongst at Elysian Fields, however, it becomes apparent that Blanche DuBois is a compulsive liar and suffers from delusions. In reality, she isn’t a class above her neighbours; the idea that people are below her are a figment of her delusional and rapidly deteriorating mind. Williams uses this to parallel the threat of Communist in the USA. She is claiming that Marxists, Communist and Socialists (and other political groups of the far-left persuasion) are imagining a division in class that isn’t really there; further, that their real qualms were with unpleasant people. Blanche represents the left wing and Stanley Kowalski represents the people the left despise and use a basis for their political agenda. Williams is clearly against Communism, in favour of Capitalism (personified through the blind Mexican florist and the tamale salesman, the latter of whom is remarked to be up until early hours in Scene 6 and the characters of which are given admirable, die-hard personal qualities). It could be argued that Blanche’s compulsive lying is a parallel with Communist propaganda, and the deterioration of her mind is comparable to that of the Communists. Her search for a lost love in her late husband (whose death she arguably and indirectly caused) is comparable to the fear of Communists coming to America after ravaging the Soviet State. (sorry for the mini, partially coherent essay)
- Blanche foreshadows the full revelation of her intentions whilst singing in the bath, “…But it wouldn’t be make-believe if you believed in me” She is alluding to her intention to create a more appealing in order to entice speculative suitors, but is essentially lying. This ties in with moral appeal of communism (promises of social equality and financial redistribution). Simultaneous, Stella and Stan are arguing over the strain she has put on them and how she got herself into such a predicament. It is conceivable that they mirror American politicians discussing the threat of Communism.
Scene 8
Summary
The scene opens with Blanche pressing Stan to tell her a joke; a request that he is less than pleased to comply with. She leaves the scene with Stan so antagonised and wrought with tension that when Stella asks him to clean up his plate he launches into a destructive rage. After calming down, he reminds Stella of how strong their relationship was before Stella arrived. Meanwhile, following the revelations concerning Stella’s past, Mitch is absent from her birthday celebration. The scene closes with Stella cutting short Stan’s prolonged complaints by announcing her being in labour.
Analysis
- Williams makes a point of denoting how unintelligent Stan is when he quotes Huey Long, “Remember what Huey Long said – “Every man is a King!””. Huey Long was an American senator who advocated Popularist ideas. Stan’s interpretation of the quote was used for sexist and demeaning purposes, whereas Popularism is akin to modern-day socialism. The quote was originally intended to empower working class men to hold their own against elitists aristocracy and business owners. By taking the quote out of context and misunderstanding it, Williams solidifies Stan’s character as unlikable from the audience’s perspective and seems as though Williams sympathises with Communism in her position, insofar as she can see why they believe in their ideology, but she can’t condone it.
- The use of lighting is revealed to a fuller extent when Blanche says, “Oh don’t burn then, Stella.” With regards to a candle. She avoids light at all costs because it symbolises the truth and contradicts the illusion that she has created for herself. Specifically it denotes her age, which is conducive to her physical appearance, which so prides herself on so much. This explains the paper lantern which she places over light bulbs to dull the light and her reluctance to be seen in the light in Mitch’s presence. Blanche as a person relies heavily on her imagine, as does Communism. Williams is arguing that when exposed to criticism and scrupulous argument, Communism is too flawed to attract a sufficient following.
- Stan’s anger seems to be solely motivated by Blanche when he doesn’t react particularly angrily to Stella ripping his bowling shirt, “You’re not going bowling… STANLEY: Let go of my shirt. I’ve done nothing wrong.” Stan’s mild reaction is unlike his previous self, even though Stella uses the imperative and speaks with an authoritative tone (something that Stan was previously flatly against). This may be because he has found sought revenged successfully against Blanche. Put into context, it is possible that Stan symbolises far-right American nationalists who hunted down the far-left, but that argument, whilst plausible given Williams’ use of symbolism, it is mostly unsubstantiated.
Scene 9
Summary
Scene 9 begins with Blanche drinking liquor alone, but is swiftly met by a dishevelled Mitch who aims to confront her about what Stan had told him, but doesn’t get the opportunity owing to Blanche’s incessant babbling. When Mitch eventually gets a word in, Blanche’s sanity begins to crumble away. She confesses that she had painted an illusion of herself to be what she thought people wanted her to be. Instead of directly answering Mitch’s probing questions; she recites childish rhymes and makes cryptic analogies essentially admitting guilt. In desperation, Blanche asks for Mitch’s hand in marriage, but he rejects the proposition because she isn’t “clean enough to bring into the house” with his mother.
Analysis
- When Mitch rings the doorbell, Blanche lets him in without considering why he didn’t appear to her birthday celebration, “Y’know I really shouldn’t let you in after the treatment I received from you this evening!... But hello beautiful” In showing a disregard for his feelings, she shows herself losing grasp on sanity, but in representing Communism, it could be that Williams thinks that Communists expect people to follow them without them having to justify their political intricacies.
- Williams again uses music to mirror and foreshadow Blanche’s mood. The polka music is associated with death, in this case, the death of her relationship with Mitch.
- Mitch’s alarm at Blanche drinking Stan’s liquor, “You shouldn’t drink Stan’s liquor” is indicative of a Communist system implementing a welfare state. Mitch takes the position of an ambivalent general population, recognising that by taking from the state (Stan), a Communist regime will ignite anger.
Scene 10
Summary
Blanche’s drinking steadily continues and her descent to insanity progresses. She dresses in a satin evening gown and a rhinestone tiara, and then speaks to herself as if talking to a crowd. Stan arrives and his presence provokes Blanche to make up an incredible lie about a telegraph from the mysterious Shep Huntleigh, but invited her on a cruise around the Caribbean. Blanche is unnerved by Stan’s blasé attitude towards her blatant lies, so conjures up more falsehoods regarding Mitch, and throws some insults into the mix for good measure. Stan is mostly disinterested in her claims because he knows them to be lies, but in failing to get a reaction, Blanche becomes hysteric and violent, smashing a bottle and threatening to stab Stan with the jagged end. Stan, somewhat drunk, disarms her and proceeds to rape her, rendering her completely neurasthenic.
Analysis
- Blanche’s growing alcohol dependency, “BLANCH has been drinking fairly steadily since MITCH left” contributes to her loss of sanity, but could also be interpreted as a Communist system being dependent on something to function, specifically, public satisfaction.
Scene 11
Summary
The final scene opens with Stella packing Blanche’s suitcase whilst Stan and his friends play cards. Stella has chosen to believe Stan over Blanche regarding the sexual abuse. Blanche has lost her appetite and is still in shock. Using the promise of Shep Huntleigh as bait, Stella and Eunice lure Blanche into packing her bags and readying her departure. Upon the doorbell sounding, it is revealed that her mystery saviour is in fact a doctor and matron, escorting Blanche to a psychiatric institution. Blanche is initially very reluctant to leave and becomes desperate and hysteric, prompting Stella to lose her composure and need to leave the scene, regretting her actions. Eunice uses Stella’s new born Son to relax her, whilst the doctor coaxes Blanche into a more lucid state, where she says “I have always depended on the kindness of strangers”.
Analysis
- When Blanche finally descends into full blown insanity and says to the doctor, “I have always depended on the kindness of strangers” this is the case for Blanche’s character because she has turned into a destitute wanderer with an unstable mind. However, when she is representing Communism, it could be interpreted as Williams’ belief that any Communist system would need economic stimulation, perhaps from philanthropists who would lend their money out of kindness.
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