A_Street_Car_Names_Desire_as_a_Tragic_Play

One of the most renowned plays in American literature is Tennessee William’s 1947 A Streetcar Named Desire. The events of the play indeed comprise a modern tragedy, which is undoubtedly attributed to the characters’ inability to accept changes and experience self-improvement. As a result, the characters attempt to carry out that, “No matter what happens, you’ve got to keep on going”, whilst failing to recognise that they need to transform their attitudes and behaviours in order to do so. One of the most significant hindrances to the ability of characters in A Streetcar Named Desire to experience self-improvement and accept change is the overpowering nature of desire above logic. Stella fleas to Eunice’s house after being physically abused by her husband, Stanley. Eunice tells him that, “You can’t beat on a woman an’ call ‘er back! She won’t come”, conveying the logical response to remove oneself from an emotionally and physically dangerous situation. However, Stella almost immediately re-enters the situation by returning to Stanley as, “They come together with low animal moans”. The animalistic imagery portrays the fierce sexual desire that draws Stanley and Stella together. The irony of their behaviours proves that desire overrides the rational thoughts of security and social acceptance. When it becomes clear to Blanche that Stanley is going to rape her, “She smashes a bottle on the table… So I [Blanche] could twist the broken end in your [Stanley’s] face”. It is clear that Blanche is strongly distressed by the threat. The social implication of committing any form of sexual violation is that of callousness and immorality. Yet, Stanley shows no mercy, saying, “Oh! So you want some rough-house! Al right, let’s have some rough-house!” before proceeding to rape Blanche. The use of innuendo desensitises the brutal seriousness of rape, focussing on the desire for sex and power that compels Stanley to commit a crime that may have harsh repercussions on Blanche, his conscience and his own relationship with his wife. It is clear that desire works as an extremely strong force within an individual, overpowering one’s ability to make logical and rational judgements. As a result, the characters of the play lack the capacity to decide to carry out changes to improve or resolve their tragic circumstances. Many characters in A Streetcar Named Desire are incapable of facing reality, and therefore are unable to accept the truths about the necessity for change within their lives. The motif of lighting is present throughout the play, such as when Blanche says, “I can’t stand a naked light bulb”, placing a paper lantern over it. Light symbolises reality, whilst the lantern symbolises Blanche’s attempts to conceal it. Blanche creates a fantasy and a facade that she tries to convince other people is genuine; “This man is a gentleman and he respects me. What he wants is my companionship”. This deluded scenario externalises the life Blanche wishes to experience. She yearns for a trustworthy male figure, security and respect. It is clear that Blanche cannot accept the truth about her current circumstances and avoids judgement from others about her life. Stella also demonstrates a lack of realism. Being told by Blanche that Stanley raped her, Stella states, “I couldn’t believe her story and go on living with Stanley”. Dramatic irony allows the audience to know that Blanche’s story is, in fact, factual. Stella also certainly would believe her sister about such a severe incident, yet makes the choice to deny it. This decision may have been made on the basis of convenience, fear or embarrassment. Nonetheless, these factors should not have outweighed Stella’s ability to face reality as it clearly did not allow for the growth and improvement of herself, Blanche or Stanley. The illusion that the characters create prevents them from realising their reality, therefore preventing them from recovering the very circumstances they are trying to hide. A Streetcar Named Desire deals with the dependency individuals have on others in order to live a secure and fulfilling life. This proves to be a factor that obstructs characters undergoing self-development. Blanche relies closely on men. She recounts her “many intimacies with strangers”, reasoning it as, “…panic, just panic, that drove me from one to another, hunting for some protection”. The animalistic reference represents the raw need for her to gain male acceptance to feel composed and achieve a sense of being wanted. Blanche also confides in Mitch, “You said you needed somebody. Well, I need somebody too. I thanked God for you… a cleft in the rock of the world that I could hide in”. Metaphorical language is used to portray the way in which both Blanche and Mitch needed another person to provide support and happiness in their lives. Alcohol is utilised as a motif throughout the play. Implications that Blanche has a dependency on alcohol are established through their constant use. It symbolises her need for something that is stronger than her. Blanche’s lack of independence restrains her from self-improvement as she is never able to be fulfilled in the way she believes her reliance on other’s will. She is not mentally strong enough to stand up on her own two feet and be happy or productive. The tragic nature of A Streetcar Named Desire leaves for a sense of hope that resolutions may arise to the problematic situations that are presented throughout the play. However, by its conclusion, each character has either remained unmoved or has deteriorated from their initial position. The tragedy of the play lies in the character’s need to just “keep on going”, whilst they do not undergo any internal transition that may enlighten their circumstances. A Streetcar Named Desire exemplified the hardship in accepting changes and experiencing self-improvement.