Key Quotes - ASND

A-level English Literature - A Streetcar Named Desire

"Stanley carries his bowling jacket and a red-stained package from a butcher's"

"He heaves the package at her"

Stage Directions - Scene 1

Themes: Masculinity

The "bowling jacket" highlights the macho elements of Stanley's character and indicates that he might be slightly intoxicated after having a night out with the lads.

The "red-stained package" serves to reinforce the patriarchal stereotypes of men being the breadwinners in society. It further creates a primitive perception of Stanley, that he is motivated by this raw meat substance. This accentuated the "heaves" it at Stella.

"it has a raffish charm"

Scene 1 - Stage Directions

Themes: Class

This quotation indicates that New Orleans has a risque atmosphere that is run-down but attractive at the same time, serving as social commentary for Williams.

It suggests that the upper classes are attracted and intrigued by the world of the lower-classes which represents Stella.

This 'blue piano' expresses the spirit of life which goes on here

Scene 1 - Stage Directions

Themes: Music, Class

Outlines a recurring motif throughout the play. The "blue" colour of the instrument metaphorically represents the depression experienced by both New Orleans society and by Blanche. Alternatively, the vibrance of the 'blue piano' could represent the multicultural 'spirit' in New Orleans and the diversity in the city.

The symbol of the "piano" is ironically used to express the social decay existent in Elysian Fields

"Red hots! Red hots!"

Scene 1 - Vendor

Themes: Class

This further emphasises the chaos that exists in Elysian Fields and the raffish charm of the city, its communal and bustling status through its volume.

It is a double entendre, not only referring to the vendor's goods but also the sexual undertones of Elysian Field and the bursting energy of the individuals.

Red as a colour could also represent threat to Blanche.

"Her delicate beauty must avoid a strong light. there is something about her uncertain manner, as well as her white clothes, that suggests a moth"

Scene 1 - Stage Directions

Themes: Class, Fantasy, Femininity

The "white clothes" cement the image of her plantation inheritance and further cement her outsider status. Her "delicate beauty" further connotes her weaknesses and psychological fragility.

The metaphor of Blanche as a "moth" can be taken in so many angles (view Blanche as a Moth) but predominantly foreshadows her social death, moths are fated to death simply by moving towards the "strong light" they must "avoid", similarly to Blanche it is the roughness of urban society that consumes her.

they told me to take a streetcar named Desire, and then to transfer to one called cemeteries and ride six blocks and get off at - Elysian Fields!

Scene 1 - Blanche

Themes: Fate, Freud

This quote sets up a large array of symbolism, transitioning from the symbolism of hope to death then heaven through "Elysian Fields". Elysian Fields is not only a literal street in New Orleans but is the resting place for esteemed warriors in Greek mythology.

Williams is obviously foreshadowing Blanche's allegorical journey for more astute audiences.

This quote is particularly Freudian, Freud believed that humans had an inherent desire to cause destruction and death from their "id" - known as Thanatos. From a Freudian perspective, it could be suggested that this allegorical path is Blanche's ultimate will.

This could also be portrayed as decline of her class, her wealth has been taken away. Her reliance on public transport would be depicted as a consequence of the New Deal, which perceivably redistributed wealth from the rich to the poor to combat the Great Depression.

"... She says St Barnabas would send out his dog to lick her"

Scene 1 - Negro Woman

Themes: Sexuality, Class

Williams begins the scene with discussions of sexual imagery with "his dog", highlighting the depravities of society that exists, but this is done in a particularly comedic manner.

The linking with the priest "St Barnabas", explicitly highlights the hypocrisy of Southern Puritanism and shows how New Orleans directly contradicts the traditional conservative beliefs present in people such as Blanche.

Her appearance is incongruous to this setting.

Scene 1 - Stage Directions

Themes: Reality, Appearances, Class

Highlights the social differences between Blanche and the rest of the residents of Elysian Fields and highlights her outsider status.

Perhaps the usage of the stage direction "incongruous" wants the actress for Blanche to foreshadow the end of the play.

She is daintily dressed in a white suit with a fluffy bodice and ear-rings of pearl

Scene 1 - Stage Directions

Themes: Reality, Appearances, Class, Mental Stability

The imagery of 'pearl' is a fascinating portrayal of her psyche. Pearls are created from an irritation within an oyster, suggesting the internal suffering that Blanche has been placed under by external societal expectations.

The rest of her outfit, the 'fluffy bodice' and 'white suit' is a self-constructed mythology of the Southern Belle. She clearly treats beauty as if it is her final currency left.

animal joy in his being is implicit in all his movements and attitudes

Scene 1 - Stage Directions

Themes: Masculinity

This stage direction appears particularly Freudian, again suggesting the self-destructing idea of Thanatos.

The phrase "animal joy" highlights his rashness, his need for instant gratification from his desires, the strengths and extremities of his emotional reactions.

'I won't be looked at in this merciless glare'

Scene 1 - Blanche

Themes: Reality vs. Fantasy, Appearances

The personification of light as a 'glare' portrays light as if it is truth that is attempting to go against her constructed identity and a cruel punishment.

For Blanche, this is a reversal of Plato's Allegory of the Cave, in which light has a destructive effect as opposed to an enlightenment.

'He sizes up women at a glance, with sexual classifications, crude images flashing into his mind'

Scene 1 - Stage Directions

Themes: Sexuality, Masculinity

These stage directions highlights him as a brute who cannot control his sexual desires which are "flashing into his mind", suggesting he does this completely subconsciously (Freud)

Out there I suppose is the ghoul-haunted woodland of Weir!

Scene 1 - Blanche

Themes: Fantasy, Class

This is a literary allusion to one of Edgar Allan Poe's poems "Ulalume", in which the protagonist visits their dead lover's grave in the "woodland of Weir".

These connotations of death add up metaphorically to the view that Blanche believes that Stella has had a social death.

I stayed and fought for it, bled for it, almost died for it!

Scene 1 - Blanche

Themes: Fate, Desire, The Past

Blanche blames Stella for abandoning her to fend off Belle Reve for herself

The visceral imagery of "fought" and "bled" imitates the metaphoric language of the defeated South in the Civil War, trying to cling onto the remains of their heritage, that this for Blanche is the only way to make sense of her past and the only way to express her contempt for Stella.

It could also depict the romanticisation of her suffering as Christ-like, casting herself as the self-sacrifice of Belle Reve, a victimhood that shields her from the reality of her social position

"almost died" further foreshadows her mental health crisis.

"I like an artist who paints in strong, bold colours, primary colours. I don't like pinks and creams and I never cared for wishy-washy people."

Scene 2 - Blanche

Themes: Class, Fantasy

There is a huge dramatic irony to what she is saying since she is the definition of a "wishy-washy" person who can't make up her mind on what she wants to be or how to be honest with herself and others. She also uses the colour "white" which is quite faded in the colours she admire of the working class Stanley.

These "strong, bold" and "primary" could represent the energy of the working class and their will to succeed via the American Dream, which contrasts to Blanche's white colours

"May I have a drag on your cig"

Scene 2 - Blanche

Themes: Sexuality, Desire

sexual overtones and phallic symbolism, it foreshadows Blanche's rape, first insight of her sexual personality and the faults which she has carried with her from her past, she was also attempting to flaw Stanley so she could have Stella to herself

"Belle Reve should finally be this bunch of old papers in your big, capable hands!"

Scene 2 - Blanche

Themes: Class, Masculinity, Desire, Sexuality

Blanche flirts with Stanley by emphasising the working class elements of his character in his "big, capable hands", ultimately feeding into his fantasies of power with the explicit sexual undertones, in a world that favours ownership over sentimentality.

This could be depicted as a Faustian exchange, since Blanche has metaphorically sold Belle Reve not for wealth and status, but for the tangible proof of her own downfall.

'The blind are - leading the blind!'

Scene 2 - Blanche

Theme: The past catching up with people, Fate

Blanche and Stella are making their way out of the flat and she contemplates the fact that neither really know what they are doing or going to now in this new way of life. It is a world away from what either are used to and so there is no way of knowing what path to take for them.

it looks to me like you have been swindled, baby, and when you're swindled under the Napoleonic code I'm swindled too.

Scene 2 - Stanley

Themes: Class, Gender roles

The usage of the pejorative "baby", gives us an idea of how Stanley views Stella as an object for his amusement, a cheap tool for his flirtation and bemusement. It highlights the masculine orientation of society, that he is more obsessed over what he has to gain rather than what Stella has lost.

The verb "swindled" indicates that Stanley believes there is a duplicitous side to Blanche, there is an informal tone placed to the word with emphasise its hurtful connotations

The Napoleonic Code is an exclusive feature of Louisiana Law

The kitchen now suggests that sort of lurid nocturnal brilliance, the raw colours of a childhood's spectrum

Scene 3 - Stage Directions

Themes: Masculinity, Reality

The "lurid nocturnal brilliance" mimics the unnatural lighting one would find in a supermarket, reflecting the imposing sense of masculinity that the working-class men emit now that the upper-class women have left the scene. The fact that this is emanating from their surroundings suggests that they have a major influence on them and place pressure on Blanche he we know is like a moth.

"nocturnal" however creates this sinister perspective, further reflecting their primal activities. The "raw colours" further insinuate this ability to break the fantasies of Blanche and bring her to reality.

The "childhood's spectrum" is used to emasculate Stanley

"Now let's cut the re-bop!"

Scene 2 - Stanley

Themes: Masculinity, Class

The colloquialisms and brusqueness of 're-bop' strongly juxtaposes with Blanche's upper-class, poetic diction.

're-bop' also has connotations to Jazz music and thus represents a distaste for Blanche's improvisations.

"[He hurls the furs to the daybed. Then he jerks open a small drawer in the trunk and pulls up a fistful of costume jewellery]"

Scene 2 - Stage Directions

Themes: Masculinity, Desire

Again these stage directions emphasises Stanley's identity as a male. Dynamic verbs such as "hurls" and jerks" and "pulls" demonstrate the force he is exerting and the anger he is expressing.

The fact that he "pulls up a fistful" highlights his violence and disregard for Blanche's material posessions (that he ultimately believes are his).

they are men at the peak of their physical manhood, as coarse and direct and powerful as the primary colours

Scene 3 - Stage Directions

Themes: Masculinity

The aspect of the men being "powerful as the primary colours" perhaps foreshadows the vivid trauma experienced by Blanche after Stanley rapes her.

The fact they are at the "peak of their physical manhood" suggests that these are men who are actively competition with each other to establish their masculinity and dominance.

[A chair scrapes. STANLEY gives a loud whack of his hand on her to thigh.]

Scene 3 - Stage Directions

Themes: Masculinity, Power

The onomatopoeia of the "loud whack" echoes Stanley's aggression and highlights the casual patriarchal elements in New Orleans and American society.

A psychological explanation could be that she has conditioned his assertions of power to be love, when it isn't.

It is an image that likely sticks in the audience's mind and establishes Stanley's needs to establish his dominance over women, as an alpha male.

It's a drive that he has

Scene 3 - Stella

Themes: American Dream, Desire, Masculinity

= Evidence of Stella's admiration for Stanley's sex-drive and strength + finds his aggression attractive and thrilling to her -> will the aggression open up doors for them in the future (relates to American Dream + going up in the world)

You hens cut out that conversation in there!

Scene 3 - Stanley

Themes: Gender,

The derogatory name "hens" highlights the oppression and degradation that women receive in New Orleans, being compared to an unintelligent animal, that they are just yapping and clucking meaninglessly.

It certainly reflects a post-war attitude in which men attempted to assert their social dominance after the brief period of independence for women.

[BLANCHE moves back into the streak of light. She raises her arms and stretches, as she moves indolently back to the chair]

Scene 3 - Stage Directions

Themes: Sexuality, Femininity, Desire

Highlights the conflict that Blanche feels over her Southern Belle identity and her sexual promiscuity. The constant shuffling in and out of the light is symbolic of Blanche's guilt and her desires to escape the past.

This motif between natural and unnatural light is used to explore Blanche's detachment from reality.

"I can't stand a naked light bulb"

Scene 3 - Blanche

Themes: Appearances, Reality

This repeats the moth imagery, the idea that Blanche wants to only cover the light with something that is delicate and thin rather than not be near it at all. The "naked light bulb" represents the fear of her past.

A Freudian reading would argue that the light is associated with her positive memories (a soft romantic light) with Allan Grey, which were destroyed by the cold unforgiving glare of reality. Her obsession with light is not to do with vanity and is thus to do with her psychological trauma.

[BLANCHE waltzes to the music with romantic gestures. MITCH is delighted and moves in awkward imitation like a dancing bear.]

Scene 3 - Stage Directions

Themes: Class, Femininity and Masculinity,

There is a stark juxtaposition between Blanche's "waltzes" and Mitch's "awkward imitation" which highlights the staunch social differences between the two characters. For a Marxist interpretation, the waltz is thus an attempt to maintain her class distinctions from Mitch.

"awkward" suggests that Mitch would never be able to fit into Blanche's fantasy and ultimately would just be moulded hastily into a person he isn't. And this overall implies that Mitch can only ever be an "imitation" of Blanche's past.

The simile of "like a dancing bear" is slightly oxymoronic, since bears often appear threatening and menacing but in reality he is soft and intimate like a teddy-bear, it ultimately detaches Mitch from the other men.

Drunk - drunk - animal thing, you!

Scene 3 - Stella

Themes: Masculinity

Stanley gets drunk and quickly angry after the radio has been turned on so he throws it out of the window. Stella attempts to calm him and know that he has animalistic tendencies as Blanche has already suggested but still Stanley doesn't mind showing his dominance with violence.

The repetition of "drunk" acts as a sort of echo, maybe being echoed in Blanche's mind, a reminder of her deception??

The dehumanising concrete noun phrase of "animal thing" suggests Stella views Stanley as not responsible for his actions, that he is simply just a wild and crazed animal, perhaps why she is drawn into him still.

"Poker should not be played in a house with women."

Scene 3 - Mitch

Themes: Gender Roles

Mitch uses a sexist remark, which despite his openness to Blanche and his kindness, highlights the social differences between him and Blanche that make a relationship impossible.

"[Then they come together with low, animal moans]"

Scene 3 - Stage Directions

Themes: Desire, Relationships

The "low, animal moans" suggests that there is something instinctual that allows Stella and Stanley to keep engaging in their relationship regardless of their social statuses. That Stella is still attracted to his animalistic traits despite there being lethal and abusive consequences for her.

I want water

Scene 3 - Stanley

Themes: Water, Desire

Water is a recurring motif throughout the play. In Scene 3, whilst Blanche uses water to escape the reality of her situation and indulge in fantasy, Stanley uses it to come back to his senses.

The usage of the verb "want", suggests that Stella is something that he desires and can live without, whilst Blanche requires her fantasies to survive.

'There is a confusion of street cries like a choral chant.'

Scene 4 - Stage Directions

Themes: Tragedy,

The 'cries' mirroring a 'choral chant' is indicative of a Greek Tragedy, whose dramatic form involved the use of a chorus, which acted as a representative of the general population and a form of choral commentary.

Its function could be that it is acts a collective commentary that 'life goes on' regardless of what happens, and that the tragedy is that Blanche has survived and 'life goes on' for her. This means the audience is left wondering what the tragedy could be

[Her eyes and lips have that almost narcotized tranquillity that is in the faces of Eastern Idols]

Scene 4 - Stage Directions

Themes: Desire, Marriage, Femininity

The word choice of "narcotized" is an interesting choice, communicating that she is addicted to the violence and wrath of Stanley, that she has become subserviant to his trance.

The "faces of Eastern Idols" shows the Stella has become immersed in Stanley's world (he is a Polish second-generation immigrant) and emphasises the importance of their relationship

"He was as good as a lamb"

Scene 4 - Stella

Themes: Fantasy vs. Reality

Simile, Ironic- biblical reference- compared to Jesus, despite the audience knowing better from the previous scene of this animalistic predator. Lamb- a symbol of purity, innocence and fragility but Stanley is the complete opposite of it.

"Yes - something ape-like about him!"

Scene 4 - Blanche

Themes: Freud, Class, Masculinity

Blanche ranting about Stanley to Stella after finding out she's taken him back after he hit her. Shows her hatred for him.

"ape-like" is an allusion to Jekyll and Hyde where Hyde murders Carew with "ape-like fury", likewise to Hyde, Stanley is described as "something", that his features are not discernable and are more subconscious, presenting a Freudian aspect to Stanley's description.

"all grunting like him, and swilling and gnawing and hulking!"

Scene 4 - Blanche

Themes: Masculinity, Desire

The syndetic listing is initially undermined by the continual pauses Blanche takes, before growing in confidence when she doesn't hold back.

The onomatopoeic "swilling and gnawing" sounds are dragging with her speech, slowing it down, as if foreshadowing the slow manner in which Stanley destroys Blanche psychologically.

[Over her head he grins through the curtains at BLANCHE]

Scene 4 - Stage Directions

Themes: Fantasy, Masculinity, Power

The word choice of "grins" holds evil connotations, like a maniac scheming his plans to her and creating fear. Although there is a physical barrier between Blanche and Stanley, Stanley is still able to haunt Blanche despite Blanche being able to close them.

Maybe he'll strike you or maybe grunt and kiss you

Scene 4 - Blanche

Themes: Class, Prejudice, Masculinity

unpredictable nature of Stanley, 'grunt' suggests pig imagery that stems throughout. Links to animalistic language surrounding immigrants 'swarm'.

'Some tender feelings have had some little beginning! That we have [...] hold as our flag!'

Scene 4 - Blanche

Themes: Emotions, Class, Gender

Blanche's version of 'tender feelings' juxtaposes the exuberant and 'bestial' feelings that Stanley exerts, this could be viewed as Williams using Blanche as a self-insert for his idealised vision of what society should look like, to make feelings more permitted.

Williams also constructs a nationalistic element to it in referencing these feelings to 'hold as our flag', perhaps referring to the American Flag. Interestingly, this play was written at a time in which many people in Southern states like Louisiana would have flown the Confederate Flag.

"Suddenly she bursts into a peal of laughter"

"fanning herself with a palm leaf"

Scene 5 - Stage Directions

Themes: Delusion, Instability

There is symbolism present that she is "fanning" herself with a "palm leaf", a symbol of victory, showing how Blanche uses inanimate objects to fool herself of her success

The "burst of the "peal of laughter" almost suggests that Williams is forcing Blanche to laugh, a torturous indication of her instability.

Aries are forceful and dynamic. They dote on noise! They love to bang things around!

Scene 5 - Blanche

Themes: Gender, Class, Fantasy

Blanche's interest in astrology presents her to be this ethereal being, a being that is socially higher than the rest of the inhabitants of Elysian Fields.

The consonance of "forceful and dynamic" highlights the destructive nature of Stanley, these harsh-sounding words that require effort to say.

"dote" means to be uncritically fond of something, so it would be infantilising to Stanley's intelligence to present him as this animal who makes unconscious decisions.

The Hotel Flamingo is not the sort of establishment i would dare to be seen in!

Scene 5 - Blanche

Themes: Class, Fantasy, Desire

The symbolism of "Flamingo" - a symbol of healing in Ancient Egypt. Suggests that Blanche goes there to psychologically heal from her repression

Flamingos can also remind us of the cheap garden ornaments, as if Blanche is pretending to detest Hotel Flamingo where she would not "dare" be seen in as a class-based hatred.

Well you do, honey lamb! Come here. I want to kiss you, just once, softly and sweetly on your mouth!

Scene 5 - Blanche

Themes: Sexuality, Desire, Masculinity

The noun phrase "honey lamb" connotes the boy's innocence and youth and further emphasises the animal imagery. Perhaps it suggests that one of Blanche's desires is innocence

Williams creates a semantic field of sweet and delicate imagery of "honey lamb" and "softly and sweetly", contrasting Blanche's lust with Stanley's more violent lust.

[Steve bounds after her with goat-like screeches]

Scene 5 - Stage Directions

Themes: Desire, Marriage, Sexuality

Steve and Eunice mirror Stella and Stanley

"screeches" connotes this sense of a primal joy that has elements of pain to it.

'The utter exhaustion which only a neurasthenic personality can know is evident in Blanche's voice and manner'

Scene 6 - Stage Directions

Themes: Reality v.s. Illusions,

The concept of a "neurasthenic personality" is coined by German sociologist Simmel in 1907 to refer to the psychological responses to modern, metropolitan life. The abstract describes the behaviours as "punch-drunk" as they "retreat into a cocoon of purely subjective considerations and initiatives."

This description that "only" that personality "can know" Blanche's "utter exhaustion" highlights how isolated Blanche is

Is that Streetcar Named Desire still grinding along the tracks at this hour?

Scene 6 - Blanche

Themes: Sexuality and Desire

The word choice of "grinding" shows Blanche's sexual promiscuity and the desires that permeate, likely to her death given the allusion to the streetcar.

The one that says the lady must entertain the gentleman [...] When I'm so tired my fingers are all thumbs!

Scene 6 - Blanche

Themes: Social Class, Gender, Sexuality

"entertain" is used as a double-entendre, both making sure Mitch has joyful fun but also sexual fun. The verb further holds connotations that Blanche is simply putting on a performative act to win Mitch over, rather than genuinely display her true emotions.

The usage of the idiom of "fingers" being "all thumbs" indicate Blanche's inner anxieties and nervousness, but also highlights this conflict between reality and fantasy. The usage of an exclamation mark further cements this panic over what Stanley will do next.

I am ashamed of the way I perspire.

Scene 6 - Mitch

Themes: Appearances, Masculinity

This is a stark contrast to Stanley. Mitch is "ashamed" and self-conscious in his profuse sweating, whilst Stanley is a lot more confident in his masculinity.

there was something different about the boy, a nervousness, a softness and tenderness which wasn't like a man's

Scene 6 - Blanche

Themes: Masculinity, Homosexuality, Physicality

Williams describes Allan Grey with feminine qualities of the traditional masculine weaknesses of "a nervousness, a softness and a tenderness" - a way that highlights his fragility that may have contributed to his suicide. This parallels William's own struggles as a homosexual man trying to find his identity in a world where homosexuality was illegal.

"And then the searchlight which had been turned on the world was turned off again and never for one moment since has there been any light that's stronger than this- kitchen- candle..."

Scene 6 - Blanche

Themes: Desire, Marriage,

The "searchlight" is a symbol for how love is often intrinsically linked to the idea of security and rescuing. The fact that it is "turned off" and simply denied to her represents the plights of a majority of those Southern Belle, fallen aristocrats and their fallen power in turning a simple light back on, perhaps Williams is mocking their perceived lack of power and criticising the patriarchy.

The "kitchen candle" juxtaposes the the artificial light present in Stanley's apartment, which could be perceived as uncontrollable, violent and threateningly overbearing, whilst the light from the kitchen candle is natural, controllable to present Blanche's image and is less judgemental.

Perhaps by saying the kitchen light is the strongest, Blanche is involving herself in more illusions given that the unnatural light has been the only light that has actively threatened to reveal the truths of her past.

He was in the quicksands and clutching me - but I wasn't holding him out, I was slipping in with him!

Scene 6 - Blanche

Themes: Homosexuality, Fantasy, Dependence

The "quicksands" could be a metaphor for the way society disposes of people who don't fit rigid societal expectations bestowed upon them. Those who choose to help the marginalised in society are further punished by "slipping in with" them.

the dynamic verb of "clutching" represents the desperation of homosexuals to be accepted into society through the sheer strength of that action, this creates a stark juxtaposition to the reality of Blanche "slipping", which could represent the illusions used by both Allan and Blanche.

The word choice of "slipping" could represent the perceived moral sacrilege that Blanche believes she has committed for failing Allan as a wife.

"[Polka music sounds, in a minor key faint with distance.] [Polka stops abruptly.] [Then the polka resumes in a major key.]"

Scene 6 - Stage Directions

Themes: Fate, Homosexuality, Desire

Before Allan's death, there is a reduction of the polka music to a "minor key", mourning already, suggesting that Allan has already succumbed to a social death. The minor key creates a sombre tone, which could potentially represent Allan - and subsequently Blanche's (and Williams') - inner turmoil to live out their desires.

There is also an ironic aspect to his death, that the music emboldens after the Polka "abruptly" stops and "resumes in a major key", which perhaps acts as a celebration of his death, since he is now free to live out his homosexual desires without moral judgement.

"peals of laughter are heard as if a child were frolicking in the tub"

Scene 7 - Stage Directions

Themes: Fantasy v.s. Reality, Femininity

The simile of the "child" "frolicking" is incredibly infantilising, indicating that Blanche has regressed in the levels of maturity and emotional intelligence, and is incapable of making an informed decision.

The word choice of "frolicking" implies her maturity is stunted and that she may be captive to her past and unable to move on.

"This beautiful and talented young man was a degenerate"

Scene 7 - Stella

Themes: Homosexuality, Desire

The noun "degenerate" is particularly discriminatory and indicates levels of immorality and corruption, representing how gay people were isolated from society.

This could also allude to degeneration theory, which whilst not popular at the time, contributes to the idea of sexual desire was inherently animalistic and prehistoric.

In the U.S, homosexuality was only legalised in 1961.

"Blanche is no lily!"

Scene 7 - Stanley

Themes: Reality v.s Fantasy, Femininity

Lilies are symbolic of purity, chastity and death (used in funerals) which is ironic given the role that Stanley plays in destroying Blanche's purity and chastity and leading to Blanche's social death.

The perishable nature of a lily further mirrors the metaphorical journey that Blanche takes through the Streetcar and the crushing of her perceived notions of innocence

"Say, it's only a paper moon, Sailing over a cardboard sea - But it wouldn't be make-believe If you believed in me!"

Scene 7 - Blanche

Themes: Illusions, Fantasy and Reality

The "paper moon" perhaps represents the mental fragility of Blanche, she attempts to request the feminine magic from the moon but fails and easily gets ripped up and psychologically torn to shreds.

These lyrics are taken directly from the song titled "It's only a paper moon" and is used ironically to juxtapose to the reality of Blanche's actions

"The distant piano goes into a hectic breakdown"

Scene 7 - Stage Directions

Themes: Illusions, Fantasy and Reality

The personification of the piano creates this aural dissonance that mirrors Blanche's mental breakdown and the consequential shattering of Blanche's illusions. It conveys to the audience importantly the extent of Blanche's mental anguish.

If it wasn't already evident, the piano is blending the elements of Blanche's interior and exterior psyche.

"Her future is mapped out for her."

Scene 7 - Stanley

Themes: Fate

Blanche's fate is inevitable. She is doomed. She has no control due to the society she lives in and is stuck in a cycle due to her desire. This holds dramatic irony since we know that Stanley is in charge of the outcome of Blanche's fate.

The word choice of "mapped" is ironic, even though Blanche has a destination routed out for her, she does not indicate the direction that she is fated towards.

I hope that his eyes are going to be like candles, like two blue candles lighted in a white cake

Scene 8 - Blanche

Themes: Reality vs. Fantasy, Appearances

The usage of the double "candle" simile highlights Blanche's mental instability or perhaps her sheer unfiltered desperation for youth.

The "two blue candles" could represent Stanley's work clothes, and the fact that she mentions a "white cake" could be attempting to marginalise Stanley for his Polish background. Alternatively the "white cake" could represent the purity that Blanche desires after witnessing Allan's death

' "Pig - Polack - disgusting - vulgar - greasy!" - them kind of words have been on your tongue and your sister's too much around here!'

Scene 8 - Stanley

Themes: Masculinity, Class

The plosive alliteration of "Pig" and "Polack" emphasises Stanley's vitriol and anger towards Stella. The hyphenations of these words represent the degree to which they strip parts of Stanley's identity away.

The colloquialisms of "them" and "too much around here" cement Stanley's perceptions that he is a second-generation immigrant and thus doesn't belong in America, whilst Stella on the other hand rises in status back to her image as a Southern Belle.

Remember what Huey Long said - "Every man is a king!"

Scene 8 - Stanley

Themes: Masculinity, Class

Huey Long was a Louisianian politician who particularly campaigned to champion the poor, white working class of America and was highlight critical of FDR's "New Deal". In essence, he is on the left-wing populist side of the Democratic Party. At the same time, his politics has been compared to Stalinism and European Fascism.

In 1929, he was impeached for abuses in power and his opponents argued that his governorship in Louisiana was authoritarian.

The book mentioned only sold 20,000 of its 100,000 copies and was mostly given away for free.

It is ironic that Stanley is misinterpreting the "Every Man a King" in terms of Men vs. Women rather than in terms of Wealth distribution from the rich to the poor.

'People from Poland are Poles, not Polacks. But what I am is one hundred percent American born and raised in the greatest country on earth and proud as hell of it.'

Scene 8 - Stanley

Themes: Class, Masculinity. Desire

The plosive alliteration further emphasises Stanley's insistence on being accepted into American society, a new society where he isn't judged for his immigrant background, a society which exposes Blanche for her bigotry and disenfranchises her.

Perhaps his blind insistence that America is "the greatest country on earth" is a product of his status as a second-generation immigrant.

I was common as dirt. I pulled you down off them columns and how you loved it, having them coloured lights going!

Scene 8 - Stanley

Themes: Class, Desire

The verb phrase "pulled you down" emphasises the effort that Stanley puts into his marriage with Stella, that physical manifestation of his love for Stella. For Stella, it too represents him freeing her from the prison of Belle Reve.

"Them columns" further demeans that plantation that Blanche values. It is also another example of Stanley and Stella potentially drifting apart. Whilst Stanley's language is more colloquialised by "them columns", Stella's is becoming more formal as she interacts more with Blanche.

'Get out of here quick before I start screaming fire.'

Scene 9 - Blanche

Themes: Reality v.s Fantasy, Femininity

"screaming fire" is an idiom for creating panic as Mitch is about to rape Blanche, but in this sense also highlights Blanche's inability to distinguish reality and fiction.

Interestingly though, perhaps these two elements are intertwining, fire is a natural form of light that she is using against the artificial nature of Stanley's apartment, to preserve her own ideal world.

She has on her scarlet satin robe

Scene 9 - Stage Directions

Themes: Appearances, Desire

The "scarlet satin" is symbolic of Blanche's sexual desire as well as the danger that is accompanied with this and directly juxtaposes Mitch's blue work clothes and her previous white outfit.

It could also hold biblical connotations to the 'Scarlet Woman', who was a prostitute in Revelations 17

"The rapid, feverish polka tune, the "Varsouviana," is heard. The music is in her mind; she is drinking to escape."

Scene 9 - Stage Directions

Themes: Music, Instability, Fantasy

The "rapid, feverish" aspect of the Varsouviana is symbolic of Blanche's past catching up to her like a disease, a sickness that infects her in the form of her mental instability.

The alcoholism that describes her "drinking to escape" suggests that she can no longer distinguish reality from fantasy.

'So utterly uncavalier'

Scene 9 - Blanche

Themes: Class, Masculinity, Fantasy

This description of Mitch in terms of a knight in shining armour reflects the general attitude of Blanche to the men in her life, needing to save her from her traumas.

[It is obvious that he has had a few drinks on the way over.]

Scene 9 - Stage Directions

Themes: Alcohol, Illusions

Mitch's intoxicated state could depict alcohol as a symbol of waking up to reality

This alcoholism creates a risk for Blanche as well, since he can no longer disguise himself to be congruent with Blanche, and Blanche can no longer shape him to be her idealised fiancé.

It could also construct Mitch as a foil to Blanche, like Blanche he attempts to escape the reality of Blanche and the reality of his mother's deterioration

'He says you've been lapping it up all summer like a wild-cat!'

Scene 9 - Mitch

Themes: Instability, Desire, Femininity

This is a recall back to a line in Scene 7 which described Blanche as a cat whose secrets became uncovered.

This extended metaphor of Blanche as a wild-cat" shows how Blanche is helpless to her alcoholic desires, without the knowledge to go against those urges and thus become vulnerable, as communicated by the "lapping it up".

"I don't want realism. I want magic! [...] I tell what ought to be truth."

Scene 9 - Blanche

Themes: Fantasy vs. Reality, Desire

This desire for "magic" appears as very performative but without an audience, perhaps the audience in reality just being herself.

'I stayed at a hotel called The Tarantula Arms [...] That's where I brought my victims.

Scene 9 - Blanche

Themes: Reality vs. Fantasy

It is interesting that now that the lampshade has been torn, Blanches lies became increasingly unconvincing and we see her retreat into his delusions and completely lose her sanity.

The "tarantula" is an interesting noun choice because the spider lures in others by weaving a web just like how Blanche "brought" in her "victims" by telling lies.

The passive nature of "brought" juxtaposes with the word choice of "victims", which leaves the audience to deliberate whether or not Blanche held authority to do this.

[She is a blind Mexican woman in a dark shawl, carrying bunches of those gaudy tin flowers that lower-class Mexicans display at funerals] "Flores para los muertos."

Scene 9 - Stage Directions

Themes: Class, Fate

The "gaudy tin flowers" suggests how humanity is suppressing nature and highlights the class divide between the rich and the poor. "gaudy" suggests that the flowers are unappealing and tasteless, not filled with genuine emotion or intricacies, which could represent the journey that will be undertaken for Blanche to her death due to her illusions.

This also uncovers some more of Blanche's traditional class and racial prejudices.

"Legacies! Huh... and the other things such as blood-stained pillow slips"

Scene 9 - Blanche

Themes: Fate

The "blood-stained pillow slips" is an interesting detail that perhaps compares Blanche to a woman such as Lady Macbeth, whose fixation on blood is parallel by her guilt - in Blanche's case her guilt from Allan's suicide.

'Legacies' are typically associated with positive connotations to wealth and success, but for Blanche it represents death, more specifically the death of the Southern Aristocracy and the loss of innocence following Allan Grey's suicide.

This could also mirror William's childhood experience with death having been incredibly ill as a child, comparing it indirectly with Blanche's

"You're not clean enough to bring in the house with my mother."

Scene 9 - Mitch

Themes: Appearances, Instability, Sexual Desire, Society

"Not clean enough" could be a literary allusion to Lady Macbeth's fate, it also emphasises the fact that she won't be accepted.

The verb "bring" is particularly objectifying, as if Blanche is some material possession or a prize for Mitch to reward himself with, shattering Blanche's world where she was dominant.

But I have been foolish - casting my pearls before swine!

Scene 10 - Blanche

Themes: Fantasy, Class, Materialism

The description of the "pearls" and "swine" directly juxtapose to each other, the symbol of wealth, purity and innocence and the

Interestingly, the word "casting" highlights some high privilege of the upper class, Mitch is left to just gawk at the pearls and doesn't get to engage with it because of his class.

"a mood of hysterical exhilaration came into her and she has decked herself out in a somewhat soiled and crumpled white satin evening gown"

Scene 10 - Stage Directions

Themes: Instability, Reality, Desire

The fact that her "white gown" is "soiled and crumpled" is reflective of Blanche's fall from grace and her confrontation with reality.

The description of the "hysterical exhilaration" having "came into her" is reflective of Blanche's loss of control over her emotions and psyche.

[She catches her breath and slams the mirror face down with such violence that the glass cracks.]

Scene 10 - Stage Directions

Themes: Fantasy, Instability, Violence

Her "slams" of the mirror imitates the primitive violence of Stanley, the sense that Blanche has perhaps succumbed to reality and is coming out of illusion

At the same time, the fact that the "glass cracks" alludes to the superstition that a mirror breaking leads to 7 years of bad luck. This could highlight the psychological perplexities of Blanche's position, she is kept a slave by her superstitions and fantasy with no clear boundary to reality.

"He was just a human bottle opener. And then one time, at a wedding party, he broke his front teeth off!"

Scene 10 - Stanley

Themes: Society, Reality

Stanley's dehumanisation of his own cousin as "a human bottle opener" perhaps highlights how he treats other people in his lives, staying with them for their utilitarian purposes rather than for any emotional support. It reflects how heartless and selfish Stanley is.

It could be argued this tragic story is further metaphoric for how the Allans of the world are treated, once they have lost their purpose they are abandoned and made useless to society, as well as how fragile traditional masculinity is.

"and lo and behold the place has turned into Egypt and you are the Queen of the Nile!"

Scene 10 - Stanley

Themes: Class, Fantasy

The reference to Cleopatra pragmatically references and foreshadows the quickening downfall of Blanche. Cleopatra’s hamartia can be said to be her desire for a man which leads to her death as she takes the only escape, suicide by snake bite. This reference perhaps highlights a cyclical structure within the play: Blanche’s actions that lead her to Elysian Fields and eventually her fall can be argued as the fault of desire.

[Lurid reflections appear on the walls around Blanche. The shadows are of a grotesque and menacing form.]

Scene 10 - Stage Directions

Themes: Fantasy, Instability, Violence

The adjective "lurid" refers to that harsh, glaring, unnatural light that appears in Scene 3, the same light that is depicted in the Night Cafe, which could be use to foreshadow the violence that is going to occur. The fact that these symbolic reflections are appearing symbolise how the characters of the play are able to see past her fantasies.

The description of the shadows as "grotesque and menacing" highlights the dominance of men in the public sphere.

[The night is filled with inhuman voices like cries in a jungle.]

Scene 10 - Stage Directions

Themes: Fantasy, Instability, Violence

Metaphorically, Stanley's world is a jungle where Blanche is prey. The change in the staging and sound effects highlights the senselessness of Stanley's rape by reducing him to a subhuman level.

The sound of it turns into the roar of an approaching locomotive.

Scene 10 - Stage Directions

Themes: Fantasy, Instability, Violence

Williams crafts this stage direction to foreshadow the ending of the play, as the locomotive is symbolic not only of Stanley's troublesome omnipresence in Blanche's life, but also represents the future- a future that Blanche cannot fit into because she is tethered to her past glory as a 'Southern Belle' in the 'Old South'.

Tiger-tiger! Drop the bottle-top! Drop it! We've had this date with each other from the beginning!

Scene 10 - Stanley

Themes: Sexual Desire, Violence, Gender

The zoomorphism of "Tiger-tiger" highlights how primitive Stanley's sexual desire is when he rapes Blanche. There is an ongoing semantic field of aggression and biting

[The hot trumpet and drums from the Four Deuces sound loudly.]

Scene 10 -Stage Directions

Themes: Music, Class

The music from the four deuces is played just when Stanley has picked up Blanche and put her on the bed. We know the upstairs of the four deuces is a brothel and therefore the fact that the music from there can be heard from there implies the rape that will follow. This is the crucial moment when the complete destruction of Blanche, her beautiful values and the class which she represents becomes evident.

Perhaps the grandeur of the music represents metaphorically the working class "victory" over the upper class.

To hold front position in this rat-race you've got to believe you are lucky.

Scene 11 - Stanley

Themes: Class, American Dream, Capitalism

The poker game is merely a metaphor for Stanley's views on capitalist society and the American Dream - describing it through the negative and animalistic connotations of a "rat-race", perhaps suggesting that kindness has no role in society, making the audience dislike the American Dream as an ideology.

However, the connotations of "rat-race" has anti-capitalist connotations, as if Stanley is aware that the maintaining of his power-status is self-defeating - that the actions he indulges in is simply the entertainment of the upper classes and he will never be able to ascend socially

"I always did say that men are callous things with no feelings"

Scene 11 - Eunice

Themes: Masculinity

Eunice uses dehumanising language by naming the men as "callous things", showing that masculinity is inherently detrimental to the equality of men and women, that the ideology that men are placed under removes all their "feelings" towards women and objectifies them.

It highlights that Stanley's treatment of Stella and Mitch's treatment of Blanche is a mere facade.

"She has a tragic radiance in her red satin robe following the sculptural lines of her body"

Scene 11 - Stage Directions

Themes: Instability, Sexual Desire

The "red satin robe" that previously represented Blanche's sexual desire and her attractiveness to danger has uncovered a more "tragic" meaning after the rape.

The "tragic radiance" of Blanche could reflect her archetype of being a "tragic hero".

"a look of sorrowful perplexity as though all human experience shows on her face"

Scene 11 - Stage Directions

Themes: Instability

The fact that "all human experience shows" could reflect what occurs when women witness their first sexual assault, no longer looking at the world in a more innocent light and more frightened and wary of their surroundings in order to protect themselves.

This also highlights the breaking of Blanche's facade, no longer can she hide behind her illusions and her true emotions prevail.

"I shall die of eating an unwashed grape one day out on the ocean."

Scene 11 - Blanche

Themes: Instability, Fantasy

Blanche's allusion to death once again evokes Freudian "thanatos" (death drive) and theorises that her desires have become so extreme they are leaving her to towards death just like with Allan. This is further supported by the implication of the "grape" being "unwashed", building that motif of Blanche being surrounded in sin and depravity in her mind.

Alternatively it could evoke Blanche's desire for a new husband, a man such as the doctor or Shep Huntleigh to save her.

The "ocean" symbolises a substantive serenity that Blanche experiences away from the Kowalski apartment, a sweet release for Blanche.

"The cathedral bells chime"

Scene 11 - Stage Directions

Themes: Instability, Fantasy

The "cathedral bells" not only foreshadows the social death of Blanche and the death of her psyche to institutionalisation but contribute to the Freudian idea of "thanatos" that Williams is conveying.

It could also be symbolic of the Christian ideology of society taking control and damning Blanche.

"The gravity of their profession is exaggerated - the unmistakable aura of the state institution with its cynical detachment".

Scene 11 - Stage Directions

Themes: Instability, Reality

This quote reflects Williams' on view on institutionalisation that imprisoned his sister with the "cynical detachment"

The "unmistakable aura" and the "exaggerated gravity" of the nurse conveys the doctor and nurse as agents of fate.

"She cries out as if the lantern was herself"

Scene 11 - Stage Directions

Themes: Instability, Fantasy

Blanche's delusion so deeply embedded that she has become her own disguise and is so repulsed by the reminder of her reality and beauty.

The tearing of the paper lantern acts as an extension to the rape and psychological harm she experiences.

Whoever you are—I have always depended on the kindness of strangers.

Scene 11 - Blanche

Themes: Reality, Family

This idea that Blanche has always "depended" on "strangers" highlights Blanche's desperation to escape the horrors of her family life and Belle Reve.

However, Williams also exposes kindness as a façade: Mitch is kind to Blanche because he wants sexual intercourse - same with the strangers when she is a prostitute. Similarly, the doctor is kind so that Blanche can go to the mental hospital, suggesting that there is inherent societal exploitation involved in men doing seemingly kind acts.

he kneels behind her and his fingers find the opening of her blouse

Scene 11 - Stanley

Themes: Gender roles, Patriarchy, Sexual Desire, Exploitation

The fact that Stanley is still fixated on sex despite his wife being in distress highlights the primitivity of his urges - he only cares about his primitive and hedonistic needs and shows how sex is used to control Stella.

The focus on the concrete noun "fingers" creates this predatory image of Stanley groping Stella.

this game is a seven card stud

Scene 11 - Steve

Themes: Deception

Closes the play. Wild poker game and it a symbol of the deception and the bluffing that has happened in the household. Evokes pathos, as it ends the play, they too serve to underline the pathos of Blanche's fate, by the very unconcern they show.

Moreover, Williams may have specifically chosen seven-card stud rather than five-card stud which has a subtle difference. In a seven-card stud game, four out of seven cards are exposed to other players while in a five-card stud game all five are kept to the privacy of the player until the final betting round. Similar to reality, only certain aspects of the Kowalski household are exposed. This may be the basic and frank nature of Stanley Kowalski himself, or the lack of privacy in such neighbourhoods. But other hidden aspects of human nature, such as cruelty, remain hidden. Nonetheless, the game of poker is based on deception and the ability to bluff. In this way, Stella is also trapped in a world of fantasy, perhaps even more so than her sister.