Big Daddy's "decidedly narcissistic…love" (sparknotes.com) adds to Brick's struggles as Big Daddy desires an heir to his fortunes - to preserve his "immortality". Brick is burdened with the task of living up to the expectations drawn out for him. However, despite Brick's obvious resentment with these expectations, Big Daddy and Brick share the most honest relationship in the play. Neither of them conceals the truth from each other on fundamental or obvious issues. Big Daddy states that Brick has a drinking problem and Brick simply responds "yes, sir, yes, I know". However, when it comes to the two chief issues of Big Daddy's imminent death and Brick's homosexuality, neither can easily address each other. This demonstrates the difference in mendacity and one's ability to communicate. Neither can raise the issues without feeling awkward. Both characters are not attempting to use "mendacity" as a way out for personal gain in "the system" but are merely trying to articulate their ideas. Big Daddy notes this when he remarks, "Why is it so damn hard for people to talk?" Big Daddy in his insensitive vulgarity continues to approach Brick's homosexuality feebly. Williams created Big Daddy's character to create a bluntness in addressing issues to help the audience in prising out significant issues, using crudeness. This way it would appear as truth in whatever was revealed. However, Big Daddy is unable to reach the important aspect in this circumstance so adding to the chaos of conflicting ideas between himself and Brick.
After Brick reveals "mendacity" is his trouble, it becomes clear that Big Daddy's regard for mendacity emerges with the use of "crap" in response to things he think appropriate. He speaks of how he lived with mendacity and how "there's nothing else to live with except mendacity". Brick responds with "liquor" as his way out and Big Daddy telling him that he is "dodging away from life". This leaves Brick more vulnerable as the screen he has built up is slowly crumbling although it is not yet evident.
Big Daddy believes that he understands Brick and he can empathise with him. He speaks of how "Peter Ochello quit eatin' like a dog does…" implying how he understands Brick's plight. This only enrages Brick further. Both characters hold the unspoken issues in the others lap and begin as equals. As he speaks of his interpretation of Brick and Skipper's relationship, Brick immediately responds with " Oh you think so, too, you call me your son and a queer. Oh!" It demonstrates instinctive defensiveness. This is the most visible attempt by Williams to throw the audience of the theme of mendacity and base it on homosexuality as he creates so much significance. He manages this by changing Brick's persona as he begins acting erratically - uncharacteristically. However, it displays Brick's mendacious attitude to himself. It raises the question as to whether he can face challenging his masculinity and "unnatural" homosexual longings in this suppressive society. It challenges the reasoning as to whether he really is caught up in the system of mendacity by lying to the person who controls this disgust with the system - himself. Big Daddy realises this and accuses him: "This disgust and mendacity is disgust with yourself."
In order to equal the score with his father he reveals Big Daddy's doom. This can be seen as an act of truth out of mendacious disgust, as it his limits had been tested and he refused to be caught up in the system any further, or as simply as a malicious response to Big Daddy's insensitive frankness. "Brick is trapped in a morality of purity that he cannot live up to…(an) extremely limited definition of masculinity" (G. Berkowitz, 1992). This changes the dynamics of the play as the two inadmissible issues are finally acknowledged, leaving it fiercely tense at the end of the Act, as the audience anticipates how the family will feel the brunt of Big Daddy's wrath at this revelation.
Mae and Gooper believe they have the hold on Big Daddy's assets up until now, as they know his death is inevitable. Their status is continuously paralleled with that of Brick and Maggie's. They bring all five or six of their children in an attempt to contrast Brick and Maggie's lack of offspring. It appears as Maggie carrying longing desires for conventionality versus the epitome of conventionality with Mae and Gooper's 2.4 children. It is portrayed as "Virginity that stands…against the grotesqueness of fertility." (Sparknotes.com/drama/cat/analysis). Their sycophantic behaviour towards Big Daddy and Big Mama is a strong attempt at representing perfection. Their attitude towards their family is the most distinct form of mendacity as they use the system to benefit themselves at the expense of others through their false façade of deference. It appears as a race for who can portray the most convincing perfection. However, as they are challenged, the web of lies deteriorates and Gooper confesses, "Aw right - I don't give a damn if Big Daddy likes me or don't like me or did or never did or will or will never!" This line demonstrates the entirety of Mae and Gooper's lying, questioning an underlying hidden agenda throughout. It is the breakdown of the 'stability' in the play. It "suggests that Williams…had a distaste for the traditional American family… (And) favoured homosexual relationships."(Winchell, 702)
Gooper's disclosure makes the audience question the nature of the other characters. For example Doc Baugh lying to Big Daddy about his true condition. It reveals the era in which the play was written, as there were no strict morals regarding patient and doctor relationships. It reveals how vulnerable and powerless we are to handling our own fate. Nowadays it would be immoral to lie to a patient, yet Williams was picking faults in the system, attacking society when he wrote the play, evoking thoughts of who can one trust and how society's leaders can control your fate.
Williams also subtly attacked religious groups through Reverend Tooker. He unexpectedly appears in the doorway during Brick and Big Daddy's confrontation and the stage directions capture his intention, as he appears "…with a practised clergyman's smile…the living embodiment of the pious, conventional lie". He appears embarrassed as he is caught perhaps eavesdropping as Mae had done earlier. Williams would have written him in to interrupt the scene, as he was exhibiting how the clergyman would have carried heavy guilt had he listened any further. He had already caught the main body of the argument, depicting how men of God are in "The System" themselves. This was Williams parading how every aspect of society was infiltrated by mendacity and evasions of truth.
Furthermore, feminist issues are raised as to whether Maggie is 'making (Brick) happy', referring to intimacy between the couple, evoking sexism. Aside from Big Mama, the other characters graze the heart of the matter, putting it down to another absent conventionality. "Brick never touched liquor before he-!" she implies marriage and voices this veiled criticism over a matter Maggie is sensitive about as she yearns for her husband to sleep with her. It displays how men were given the benefit of the doubt and according to Big Mama who deludes herself, Brick has retreated into himself and begun drinking to escape Maggie. Maggie's subsequent lie about having a baby to Big Daddy in order to raise spirits is seen as both selfish to gain Big Daddy's inheritance, yet also an act of kindness to distract Big Daddy from his frightening situation. She refers to herself as "Maggie the Cat" as "…a particular fantasy of feminine desire" (Lesley) yet in reality she has the bitter and apprehensive qualities of such one. It seems as though she requires a child in order to gain her rightful inheritance to live the life she never had and that Brick is an obstacle she needs to overcome with her nine lives through her resilience to achieve the image of a harmonious marriage,
Furthermore, Big Mama's criticisms of Maggie mask her own self-denial. She deludes herself about Big Daddy's condition throughout, which is made apparent when everyone sings to Big Daddy. She bursts into tears and when questioned tells Brick of the "wonderful news" that Big Daddy had been given the all clear. As she brings this up unexpectedly, it compels the audience to wonder whether she knows the truth but will delude herself for the rest of the play. She "is a woman embarrassingly dedicated to a man who despises her and in denial of his disgust". It induces pity and the audience can see how Brick is similar to both his parents - he deludes himself about Skipper yet is as forthright as Big Daddy, displaying the contrast as to why Gooper is much disliked; Gooper is facetious, well-educated and possesses social graces.
Big Daddy mutters to himself "wouldn't that be funny if it were true" after Big Mama professes her love to him, mirroring the scene between Maggie and Brick at the end. It demonstrates how these two women yearn for conventionality but their husbands can see right through them and only Brick has had the courage to shun his wife until now when Big Daddy illuminates his insensitivity by casting of his wife, appearing as ungrateful.
Consequently, through this dynamic play Williams has reflected society in which he lived and although the play has developed with age, the fundamental flaws remain; people will use mendacity to achieve conventionality. Lies, small or large are easier to uphold rather than facing the frightening truth. They are seduced by the theory of perfection. He recognises how mendacity affects each one of us and is able to unfold several series of lies and webs of deceit in just one evening, exposing how we are all victims of our own hidden desires.
By Mariella de Souza.
12EAS.
Bibliography
- G. Berkowitz 1992.
- Winchell 702
- Lesley's critics
