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University Degree: Tennessee Williams
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These included homosexuality, dynasty/money, dreams, alcohol problems, and strong women. The title Cat on a Hot Tin Roof is significant because it expresses the emotions of people in America using images so that people nowadays can understand what they felt like. Maggie and Mae both want Big Daddy's money and are cunningly, "squaring off on it, each other determined to knock off a bigger piece of it than the other" (p.56) as Brick put it. They are playing a game that is dangerous but they play it because the end result is Big Daddy's inheritance. Mae asked Maggie, "Why are you so catty?" and Maggie replied, "cause I'm a cat!"
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They stepped through the doors and out of the public eye. They entered a different almost fairytale land which suggested eons of fun. They swaggered up to the check-in and there was no need for words, "Williams, Superior suite" said the neat check in girl. Almost immediately they began climbing the grand marble staircase right to the top. The manager showed them through huge double doors into a room fit for a king, but the Williams didn't comment. "I'll leave you to it sir" said the manager. Mr Williams didn't reply, but the manager left hardly surprised.
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Brick says that 'Mendacity is a system we live in. Liquor is one way out, death is another...'. Discuss Williams' treatment of mendacity and truth and a theme in Cat on a Hot Tin Roof'.
Being one of the play's protagonists, he challenges the status quo as society's repressive attitude to 'unnatural behaviour' unfurls. As he superficially attempts to appease his conscience, it leaves him to battle his instincts and confront his rights to lead a 'normal' life, which in itself is debatable. What is a 'normal' life? The play indicates that it is one free from institutionalised prejudices. Brick's alcohol dependency reduces him to yearn for a mechanical 'click' in his head, to allow him peace in a world he detests.
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And at the end of scene three in the Broadway version Williams shows the possibility of Brick also having undergone a 'miraculous metamorphosis' giving the ending a lot more optimism for the future. Brick: I admire you Maggie Rather than in the original version where there is a more pessimistic ending where most of the matter remains unresolved, and leaving the audience with much more to think about. Maggie: 'I do love you Brick, I do' Brick: 'Wouldn't it be funny if that was true?'
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Despite this, there are certain words which provide subtle hints towards the writer's stance on the situation. For example, pre-head modifiers such as "bloodless military coup" place emphasis on the fact that the army was indeed responsible for the impromptu revolution, however it was carried out peacefully, without violence or aggression. From as early as the first paragraph, many readers may take the side of the revolutionaries after subconsciously taking this into account. Williams goes on to narrate further the events, still writing to inform, with occasional choice-adjectives which help to demonstrate which side he has taken.
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However, it can be claimed that Gooper, along with his partner Mae is really motivated the prospect of financial prosperity. Both he and Mae appear to be loyal and complaint to Big Mama and Big Daddy. Yet, despite the fact that Gooper has achieved all that society has asked of him, he remains unable to please his father, who seems to prefer Bricks company to his. Furthermore, the main link between the two is the fact that neither will let the other embrace their illusions that society has imposed upon them.
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Brick finally admits that he is drunk, "that's the truth Big Daddy. I'm a alcoholic." By all this drinking Brick doesn't face up to his problems and really doesn't care about anything. He feels scared and afraid to face up to his problems and according to Big Daddy, he always "passes the buck." The only way Big Daddy can make Brick open up to him is through a bargain. "You tell me why you drink and I'll hand you one." Brick finally admits that he had started drinking through "mendacity." Brick had felt betrayed by the lies and the mendacity people had given him.
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. There's more shouting more rushing around; the conversation's fast, as they're all looking for Big Mama. The most important way to show that there's continuous action is that there are no scenes. There are no cuts in acts. There's always something going on on the stage. There's lots of action. Violent action, loving action, sexual action, and Williams has made different characters react differently, as if they were people. In terms of Juxtaposition there's a combination of characters, emotions, meaning's and themes. There's a contrast of acts and what they bring to the play. Act One shows the differences between the three couples, and what Mae and Gooper's real intentions are.
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We shall now attempt to explain the three main parts of a dream in reverse to the order in which they occur in the mind, but in the order that we become consciously aware of them. The Manifest dream
The reason behind the generally held view that dreams are invariably wish fulfillments is that dreams come from, and are products of the Unconscious. Which at its core has no other aim than the fulfillment of wishes" (Nagera, 1990). We shall now attempt to explain the three main parts of a dream in reverse to the order in which they occur in the mind, but in the order that we become consciously aware of them. The Manifest dream is the culmination of the processes brought to bear on the latent contents of the dream by the dream work.
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One could argue that this insinuation relates to when Brick blames 'mendacity' for his alcoholism, as the subject of secrets and lies reoccurs throughout the play as a cause of destructive tension within the family - Big Daddy's condition, Skipper's secret -, but more obviously Williams is capturing the reality by retaining some revelations from the audience. One of the most prominently undefined characters in the play is Brick, who is described in the First Act by the following comprehensive stage direction where Brick is: [...hanging on the towel rack because one ankle is broken, plastered and bound.
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Stanley is an American of Polish extraction, a modern, rough, working class man who distrusts and dislikes Blanche from the outset. The admirable qualities Blanche displays of eloquence and education (Blanche is a teacher of literature) are to him an affectation and an annoyance. Blanche also tells of her admirable qualities herself, in scene ten, saying that she is "cultivated, and of intelligence and breeding". Stella also points out more of them whilst talking to Stanley, telling him that Blanche as a child, was both tender and trusting.
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Is Williams right in thinking that equality requires us to have a 'relevant reason' every time people are treated differently?
The distribution of goods is based upon two different inequalities: inequality of need and inequality of merit. It is easy to see that distribution of goods according to need is pretty simple, as it is based on the satisfaction of the existing desire. The more needy should have priority of access to the good in question (for example medical treatment) rather than people who don't need it. A problem here arises when two (or more) people have the same need, but they don't have the same necessary conditions to satisfy that need; in Williams' example of medical treatment it would be the possession of sufficient money.
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The fire escape present in Amanda's small apartment of St Louis, constantly promises the chance of escape to Tom. His mother lives in the past and has fond memories of her time in the old south, however as society changes Amanda finds it hard to fit in. The fact that Amanda's husband does not support her family means that she has to find another source of income and because of this a lot of pressure is placed on Tom. As Amanda is unhappy with her low statues lifestyle she takes a lot of anger out on Tom, accusing him of being 'selfish' and a 'liar.'
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The Blanche/Stanley Conflict in Scenes I - IV of "A Streetcar Named Desire". What is the nature of the conflict between Stanley and Blanche, and how is it represented?
So, there is the conflict for Stella's love, and the conflict of each wishing to be better than the other. In scene one, it begins to become obvious that Blanche is jealous of Stella's love for Stanley, and also vice versa, in that Stanley is unused to having to compete for his wife's attention. Blanche tells Stella at every opportunity that Stanley is "not good enough" for her, through subtle and not so subtle words. "Oh, I guess he's just not the type that goes for Jasmine perfume" - inferring that Stanley is unable to appreciate the finer things in life.
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He meant the world to her, and she cherished the little time spent with him. Tragically, he had problems with alcohol that caused the family great anxiety. In the winter of 1890, in an attempt to restore the father's health, Eleanor and her little brother went with their mother and father to Italy and France for about six months. While the family was in Paris, her second little brother was born, and Eleanor was shuffled off to some convent so that she was out of the way. This experience was not pleasant for her, given the fact that did not speak French, nor was she Catholic as were the other young girls.
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Is it true to say that women dominate men in Hobson's Choice? Why is this significant in the context of the play? Give examples to support your view.
I'm not a fool" Hobson also does not want his daughters to marry if it means paying settlements. "From the moment you breathed the word 'settlements' it was dead off" Hobson is a drunk who spends the earnings of his boot shop on drink every lunchtime and at every other available opportunity. He has become an alcoholic. Even at the beginning of the play, it is not fair to say that the men dominated the women, because they ran both the house and business without any financial or moral support from their father. To some extend even Hobson's life was run for him by his daughters.
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Symbolism plays an important role in Tennessee Williams' "Cat on a Hot Tin Roof" and Arthur Miller's "Death of a Salesman". This essay will compare and contrast the role of symbolism in these plays.
Brick's crutch may also be seen as a manifestation of his dependence on alcohol. Lastly, in a showdown between father and son in Act II, Big Daddy attempts to make Brick face the desire that confronts him and as Brick tries to escape, wrenches the crutch away from him. One can thus see that the crutch may also be seen as a phallic symbol, and it's removal by Big Daddy may symbolise the loss of Brick's manliness due to his insecurity about his sexuality.
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However this has no effect, as not only are Brick's replies short and emotionless, they are pernickety, and force Maggie to explain and justify everything. More than often Brick answers with pointless expressions such as "why d'ya?" or "Don't they?" which frustrates Maggie even more causing her sometimes to snap at Brick. In the first act we meet Margaret Pollitt, the wife of Brick. Maggie through her beauty and her wit has managed to escape a childhood of desperate poverty to marry into the wealthy Pollitt family, but finds herself suffering in an unfulfilling marriage.
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He embodies an almost archetypal masculinity, that of the self-possessed, self-contained, and untouchable man. However at the same time, Brick is an obviously broken man. Turning from his homosexual desire for his dead friend Skipper, Brick has depressively withdrawn from the world behind a screen of liquor. He is reduced to the daily, mechanical search for his click that gives him peace. He chooses to locate himself on the far side of the family drama. Brick's feelings are materialised in his injury, a broken ankle incurred while jumping hurdles on the high school athletic field.
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The "red wheelbarrow" is an austere-colored, man-made object used to carry heavy loads too burdensome for the human body. The color red in literature usually connotes something harsh and shocking, intense and rough. The brightness of the color made the wheelbarrow so noticeable that it took Williams until the very last stanza of the poem to notice the chickens moving around it. The entire phrase, "so much depends upon a red wheelbarrow" sets a tone of stiff tone of dependence, which is later changed in the poem starting in the third stanza. The reader reads that the "red wheelbarrow" is actually "glazed with rain water", and suddenly there is a newfound sparkle in the poem.
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William's took it upon himself to establish dreams and failure within each character to signify this. The play became appealing because of this as people were able to sympathise and relate with the characters as they had received the same failure and rejection. Jim had a passion for success, back in school he was the most likely to succeed to a high level. "I was bound to succeed in anything I went into." It became clearly evident his dream never became a reality. Williams wanted to emphasise this point to gather interest from those who had received similar disappointment as Jim.
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Tragically on 24th February 1983, Tennessee Williams died, after choking on one of his barbiturates. Historical - ? Although Tennessee lived through as many people would say, life-altering events, such as the American Civil War, and World War II, he failed to mention them in any of his plays. This may emphasise Tennessee's ability to distance himself from reality when writing. ? In the American Civil War, the southern states tried and failed to oppose from the Union in order to preserve their 'state rights'. Especially their slavery system which was giving many a reliable income, as this was what their cotton, and tobacco industries were relying on.
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Examine the relationship between Brick and Maggie in the first act of "Cat on a Hot Tin Roof", is there any hope for this relationship?
which frustrates Maggie into answering snappily "Isn't that a good enough reason?" Tennessee Williams has cleverly used a name, which has similar characteristics to its character. Brick is introduced to us against a cold background of "pale blue tiles and silver towel racks,", but his surroundings are not the only thing described as cool, He himself has the "additional charm of that cool air of detachment" His name also can be interpreted as him building a wall between himself and others especially his wife Maggie, other characteristics of a brick also describe him well, He is hard, isolated, impassive, detached and uncommunicative.
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"The purpose of the artist... is to take the life which he sees and raise it, raise it up to an elevated position where it has dignity." To what extent has Williams succeeded in applying this principle to his own poetry?
Williams employs a similar strategy for his poetry. For Duchamp the art was in arranging the urinal. Certainly in 'This is Just to Say' but to a lesser extent other poems such as 'The descent' the 'art' is, at least in part, similarly created by arranging the words of an otherwise normal statement in a particular way. He often uses the form and the typography to enhance his subject matter, and imitate the life he is raising, for example, in 'The Descent' the writing literally descends down the page, "World lost, a world unsuspected, beckons to new places" The remains
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To what extent is, in terms of both style and theme, is 'Spring and all' characteristic of Williams' poetry, and in what ways does it represent a particularly modernistic treatment of the subject?
The phrase directly before this line, "it quickens" is intriguing. It suggests the process is active and self-directing, as Donald. W, Markos suggests. Further it suggests thoughtful decisions, 'enforced' by nature, rather than a so-called 'natural' occurrence, which is precisely what we are primarily discussing. This brings me to the conclusion that Williams is not simply discussing emergence, change and growth in nature after a long winter. Less explicitly, he also talks about these features emerging in the arts at the time.
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