Tennessee Williams wrote in a letter that It (Streetcar) is a tragedy with the classic aim of producing a catharsis of pity and terror and in order to do that, Blanche must finally have the understanding and compass
Tennessee Williams wrote in a letter that "It ('Streetcar') is a tragedy with the classic aim of producing a catharsis of pity and terror and in order to do that, Blanche must finally have the understanding and compassion of the audience. This without creating a black-dyed villain in Stanley. It is a thing (misunderstanding) not a person (Stanley) that destroys her in the end." In your opinion, to what extent has Williams succeeded in his aims. Although there are many different viewpoints on a conventional tragic heroine, Aristotle made his views clear that a hero must fall from fortune and power, due to a tragic flaw, allowing an audience to feel catharsis at the end of the play. It can be argued that Stanley causes Blanche's downfall, however, it is clear that Blanche had brought this upon herself by creating a conflict between them and ensures her own downfall by other means such as her promiscuity and flux into fantasies. Williams makes it clear that a misunderstanding destroys Blanche in the end. This misjudgement can be seen in her aggressive teasing of Stanley and her uncomfortable belonging in multi-cultural New Orleans. From the beginning of the play, Williams makes it clear that 'the Kowalski and the DuBois have different notions' with Blanche withholding the Southern Belle attitude of 'Belle Reve'. However, it is clear that Blanche cannot cope with the stark
TO WHAT EXTENT CAN A STREETCAR NAMED DESIRE BE CALLED A TRAGEDY?
TO WHAT EXTENT CAN 'A STREETCAR NAMED DESIRE' BE CALLED A TRAGEDY? 'A Streetcar Named Desire' was written by Tennessee Williams in 1947, eliciting the most critical commentary of any of his works, as well as being highly divisive: upon its release, one reviewer defined it as the product of an "almost desperately morbid turn of mind"1; George Jean Nathan criticised the "unpleasant"2 nature of the play, calling it "'The Glands Menagerie'"3. Williams' focus on realism, and the subsequent omission of clear-cut protagonists and antagonists in 'Streetcar', also drew glowing reviews, from the pre-eminent theatre critic Brook Atkinson, for example, who called Williams "a genuinely poetic playwright whose knowledge of people is honest and thorough"4. This difference in opinion does not stop at subjective criticism of the play, but even the specific genre which 'Streetcar' falls into. Many assume it to be a tragedy of some type, and there is indeed much to commend this view. However, the ambiguous nature of many aspects of the play and Williams' inclusion of alternate dramatic devices has led many to believe that 'Streetcar' should not be classified as a tragedy, but as a melodrama. In any tragedy, the tragic protagonist is of vital importance: everything is centred on the protagonist, their flaw and subsequent downfall. However, in 'Streetcar', there is large uncertainty as to who
To what extent can Blanche Dubois be considered a tragic hero?
Blanche DuBois is often referred to as a 'tragic figure.' How does Williams' presentation of this character allow her to be seen in this way? Aristotle defined 'Tragedy' around 330BC: "Tragedy, then, is an imitation of a noble and complete action; . . . and achieves, through the representation of pitiable and fearful incidents, the catharsis of such incidents." In a tragedy, the tragic hero is tested by suffering; as a result they're forced to face the consequences. Some will be crushed by their misfortune and may even die; others will somehow overcome their difficulties. Aristotle also states that the character must be of noble character - defined not by birth but rather by moral choice. This does not mean that they're perfect. There would be a sense of outrage if the individual were not marred in some way and yet still suffered. Conversely, a tragic hero can not be completely heinous. Aristotle felt the best type of tragic hero will fall somewhere between the two extremes - ". . . a person who is neither perfect in virtue and justice, nor one who falls into misfortune through vice and depravity, but rather, one who succumbs through some miscalculation." When the character is presented to the audience, there is empathy as their flaw (Hamartia) humanises them; a sense that it could happen to anyone because of this Hamartia, which while contributing to the character's lack
