Stella’s sister, Blanche arrives from Laurel in Scene 1, where all she does is criticize her sister for her new lifestyle. It has clearly been degraded, compared to their life in the Old South, as Blanche says “...that only Poe could do its justice.” Blanche is thinking that Stella has let go of her appearance because of her new domestic life and her submissiveness to her husband. Her character is juxtaposed to that of Stella as she arrives to the personified New Orleans urban setting ethereally dressed in white, with an almost celestial appearance. This clash represents much more of an anachronism than that of Stella, who has significantly adapted into Stanley’s world.
The sister has barely arrived from Belle Reve and yet, seems to say everything on her mind. Blanche feels preplexed and a little embarrassed to see what her sister’s life has become because Stanley’s too “normal” (pg...) For instance, dramatic irony is present as Blanche mentions their rich estate while sitting in an inferior, undistinguished kitchen with a linoleum table. Another example of irony is while Blanche is suffering telling the tragic story of how Belle Reve was lost, she feels as if she needs to justify herself but at the same time, she accuses Stella of walking away from the plantation. Every aspect of her domestic life bothers Blanche including her overt sexuality.
However, Stella’s enthusiasm for sex is unusual for the social period of the play and for social backgroud. Laurel, located in the South, was composed of plantations consisted of members of the aristocracy, their servants, and a poetic lifestyle heard only from books. Stanley represents the “new order” of the South, with his non-chivalric, muscular, babaraous, and troglodyte ways. Their relationship is entirely based on carnal and corporeal pleasures whilst the clear definition for marriage is that of “being united to a person of the opposite sex as husband or wife in a legal, consensual, and loving relationship.” Stanley acts towards Stella with a macho, primitive, dominant agression, while Stella does nothing but comply with his demands subserviently. Williams conveys this idea with the setting of their apartment composed of vivid primary colors, perfectly matching Stanley’s primal instincts.
A final show of authority is his over powering presence within the poker games. Here he makes powerful statements, passing judgements on the symbolic game, and asserting dominance. “Nothing belongs on a poker table but cards, chips, and whisky.” It is he who sets such rules, allowing no other comment or opinion. Therefore, it is through using techniques such as dialogue, stage directions, foreshadow, and character, that Tennessee Williams foregrounds society’s attitudes to masculinity within the text. “You hens cut out that conversation in there!” Stanley shouts from the poker table. As Blanche turns on the radio, a waltz is playing, symbolizing a sentimental expression of love for old-time Vienna.. The song conjures up images of elegance and splendor that contrast with the run-down apartment Stella lives in. After Stanley’s demands were not obeyed, in a savage rage attack, he loses his nerves and beats his pregnant wife. The dramatic tension increases as Stella is ushered by Blanche to Eunice’s apartment, and Stanley can do nothing but sob in a childish manner. This is the first time he shows a little more than physical attraction towards her, but yet, the patriarchal symbol rule the scene as Stella, obediently goes back to him. They face each other, and with absolutely no contact at all they fall in an embrace as “low, animal moans” are heard. This raw attraction is the pillar for their marriage, which consists of a vicious cycle of agression, sorrow, apology, forgiveness, and passion.
Just as a character is provided to represent the stereotypical male, one is also provided as a representation of femininity. Stella fulfils society’s preconceptions of femininity perfectly, though from today’s perspective they may be considered as misconceptions. Her character is absolutely passive and has a largely domestic role. From her first appearance in the play, she is found indoors, and remains in this setting for a substantial amount of the text. She is also disempowered through the language of other characters. She is rarely called by her name, and is instead referred to as “…honey…”, “…baby…”, or “…little woman…” This lack of individual identity is one of the hallmarks of feminine power play within contemporary society. Women were degraded to mere tags, and never allowed their own personage. In spite of that, she needs her man by her side to guide her. Her slight actions of frustration, yet non-violent situation also demonstrate her passivity. She laughs girlishly and uncertainly, her voice is weary and her face is anxious. When someone interrupts her, she allows this because everyone deserves a chance to speak. Stella does not enjoy being hit by Stanley, for she is not masochistic, but in the back of her mind she knows she could not subsist if she got any idea to leave Stanley
A Streetcar Named Desire by Tennessee Williams brings to light many of the truths as to society’s attitudes towards men and women. A range of dramatic techniques, such as dialogue, stage directions, gaps and silences, setting, catalogue, foreshadow, symbolism, irony, and character, are employed in order to shape understandings of gender stereotypes. The playwright explores both male and female stereotypes as well as society’s reaction to those who challenge these preconceptions, or indeed misconceptions as the case may be. By representing these truths to the masses which view this striking play, Tennessee Williams poses a question to society, as to whether or not these representations are accurate. May audiences only hope to respond to this question in the next century.
