Explore the methods used by Williams in the first two scenes of A Street Car Named Desire to introduce the audience to the themes of the play

Not only does the stark contrast between the appearance and language between Blanche and Stanley symbolise and introduce the theme of the differences between the Old and New South, but it also introduces a predominant theme in the play- the conflict between Blanche and Stanley. In the first two scenes Williams presents the two protagonists as polar opposites. For example, Stanley is blunt, vitriotic and accusing towards Blanche in his determination to discover the real reason for the loss of Belle Reve in Scene Two. By contrast, Blanche is dismissive and dances around the topic. In this Scene, Williams has laid down the groundwork for conflict between Stanley and Blanche to be inevitable. He does this by making Stanley hostile to Blanche because of a sharp awareness of their class differences. This causes antagonism between them, as Blanche’s affluence is a reminder to Stanley of where Stella has come from, his inferiority and how he cannot provide these rich luxuries for her. In Scene Two, the antagonism between them is intensified by Blanche’s provocative behaviour in her red robe, which seems more fitting for a prostitute than a schoolteacher. This consequently raises his suspicions that her account of what happened at Belle Reve is fabricated. Stanley’s escalating suspicion is portrayed when he exclaims; ‘If I didn’t know that you were my wife’s sister I’d get ideas about you!’ By using this juxtaposition of Stanley’s smouldering set against Blanche’s misguided playfulness, William’s brings to life the theme of conflict between these characters a visible theme.

Through the character of Stanley, Williams subtly introduces the theme of male dominance in the play. He first hints at Stanley’s masculinity using the similitude of a ‘gaudy seed-bearer’ to describe him. He then uses sexual innuendo when he heaves a package of meat to Stella in Scene 1- Stan: ‘Catch!’ Stella: ‘What?’ Stan: ‘Meat!’ This innuendo portrays Stanley as stating his sexual claim over Stella, leaving her laughing ‘breathlessly’ and highlighting her sexual infatuation with him.

Through the characterisation of Blanche, Williams also establishes an additional theme in the play- fragility. The first reference to Blanche’s fragility is found in the stage directions through the use of simile; ‘like a moth’. This recurring image implies that she has a self-destructive and fragile nature, just like a moth is self-destructive in its compulsion to propel towards a light, which is inevitably the reason for its demise. She is also shown to be fragile in the sense that she is insecure. Williams shows this through the method of sentence structure. Her inward insecurity is portrayed by her broken sentences in Scene One- for example, when she says; ‘They mustn’t have - understood – what number I wanted…’ Her insecurity is also shown through her dialogue with Stella in Scene One, where her imperative need for flattery to banish her fears of growing old creates a sense of pathos for the audience. Williams also uses the methods of sarcasm, stage directions and characterisation to highlight Blanche’s fragility in terms of her self-confidence in her looks. For example, when he expresses her fear of light in the stage direction- ‘Her delicate beauty must avoid strong light’. This phrase could be viewed as sarcastic as it could imply that she does not want to go into strong light purely because it would illuminate her old-age. It is also ironic that Blanche should be deflected from strong light, as moths are attracted to strong lights. In addition to this, the element portraying Blanche’s secret drinking problem in Scene One of the plot is used by Williams to present her fragility. This is because by turning to drink, it implies that Blanche is psychologically fragile (or depressed) and is using alcohol as an agent to withdraw from reality. We can be aware that Blanche’s drinking is a recurring habit due to the language Williams’ uses (‘She pours a half tumbler of whiskey and tosses it down’), as this implies that she is familiar with liquor as it contrasts her ‘dainty’ persona. Again, William’s uses the method of stage directions and the tool of stage lighting to portray Blanche’s melancholy state of mind when he says; ‘A light goes on behind, turning it light blue.’ The colour blue is significant as it symbolises Blanche’s psychological state due to its stereotypical link with sadness.

The idea that Blanche is mentally plagued with trouble and problems can be linked to another theme introduced in the first couple of scenes- the theme of bathing. Whilst Blanche insists that her obsession with bathing is for the purpose of ‘calming her nerves’, William’s uses this action as symbolism for her efforts to cleanse herself of her odious history.

In addition, the theme of poker is also addressed in the first two scenes. William introduces this theme using the metaphor of a woman having to ‘lay her cards on the table’ in Scene Two. Whilst this metaphor is used to imply that Blanche must be completely honest with Stanley, the phrase is also within the semantic field of poker and is linked to the declaration that there will be a men’s poker game later that evening.

To conclude, Williams introduces a number of major themes within A Streetcar Named Desire in the first two scenes, such as The Old South vs. the New South, the conflict between Blanche and Stanley, racial and social integration, primitive vs. primal, Stella and Stanley’s relationship, male dominance, fragility, poker and bathing. To do this, Williams uses a number of methods, predominantly through characterisation, symbolism, stage directions, language and dialogue.