Corruption quotations

‘if’ chance/Some cursed example poison’t near the head/Death and diseases through the whole land spread.’ (Act 1.1)

in his first monologue, Antonio likens the ‘court’ to a ‘common fountain’ (which should symbolise purity). His metaphor suggests that if those in power are corrupt, their influence spreads rot & destruction throughout the entire society, reflecting the idea that corruption begins at the top & leads to widespread moral & political decay

‘He and his brother are like plum trees that grow crooked over standing pools.’

Webster’s metaphor of the brothers as "plum trees that grow crooked over standing pools" illustrates their moral corruption and the unnaturalness of their power (their power is unnatural & rotten). The "crooked" trees represent their twisted and self-serving nature, while the "standing pools" symbolise the stagnation and decay that results from their actions, contrasting with Antonio’s simile of the French court being a fountain. Instead of fostering growth or righteousness, their rule poisons the court, showing how corruption at the top spreads throughout the entire society, making it a place of moral and political rot. Ironic use of image of water and fruit as they have connotations of life & nourishment. However, both are acting in exactly the opposite way - the water poisons rather than nourishes the trees, and the fruits from the trees only attract, feed and support the existence of vermin ('crows, pies and caterpillars').

‘Say then my corruption/grew out of horse dung’

Bosola evidently detests himself for taking advantage of Ferdinand’s offer on a new position as he associates it with abhorrent imagery.

‘but for their sister, the right and noble Duchess you never fixed your eye on three fair medals cast in one figure of so different temper.' (Act 1.2)

This puts the Duchess in strong contrast with her corrupt brothers, this suggests that the Duchess is a just and pure character who rules with fairness. Outward appearances are deceptive, as all three look similar enough to be related but do not have similar ways of ruling.

‘The devil speaks in them’ (C & F)

This imagery is antithesis to how the audience would expect from a religious figure & duke. (AO3) The significance of the Cardinal being a high ranking catholic would have not been lost on a contemporary audience who, due to Spain, a catholic country, being enemies with England and the blood shed of the reformation would have immediately associated the Cardinal as a corrupt and morally dubious character. By creating a powerful character who is a corrupt catholic, Webster could be suggesting that those in power are corrupt and unrighteous people who care little for their subjects and will sin in order to get what they want. 

‘the law to him / Is like a foul black cobweb to a spider’ (Act 1.2) - (Delio)

Simile implies Ferdinand is a spider; animal imagery is sinister and speaks of his predatory and calculating nature. Also, perhaps it anticipates his later lycanthropy? Use of the spider-web image suggests the law is in a way something Ferdinand himself constructed for his own predatory ends. 

‘You know already what man is, and therefore/ Let not youth, high promotion, eloquence’ (Ferdinand) 

‘Sway your high blood’ (Cardinal) Act 1.2

Ferdinand’s belief that nobility are born with more value than those who are members of the public & court was a commonly held belief amongst Jacobean society, especially in England. However, Ferdinand abuses his role as an advisor in an attempt to suppress & indoctrinate the Duchess with his misogynistic claims. The Cardinal’s contribution of a desire for noble ‘high blood’ outweighs his compassion for the Duchess, leading to the power of desire being the only prevalent feature of both brothers.

‘You have a pair of hearts are hollow graves,/Rotten and rotting others’

symbolises moral corruption, depicting the brothers as devoid of virtue, with their selfishness poisoning those around them. The metaphor of "hollow graves" conveys the idea of emotional and moral decay, where their actions lead to the destruction of others. (connect to how Stanley also corrupts & destroys relationships)

Shall our blood, The royal blood of Aragon and Castile, Be thus attainted?’ (Act 2.5) 

the Cardinal’s refusal for any mixing of the classes demonstrates his corrupt nature

‘the Cardinal bears himself much too cruel’ (Act 3.5) 

inferred by the pilgrims

‘a woman’s charm is 50% illusion’ (sc 2)

emphasises her desire for love and companionship; her longing to be accepted & desired by men drives Blanche to pursue her idealistic expectations of women creating a fantasy in which the power of desire ultimately consumes Blanche. However, for a contemporary audience the depiction of women having these all-consuming desires would still be considered taboo, since despite Blanche’s trauma, a new ‘South’ & progressive American society would still depict Blanche as a typical lusty woman who conforms to the ‘whore’ of the ‘Madonna/whore dichotomy’ 

‘…piece by piece, our improvident grandfathers and father and uncles and brothers exchanged the land for their epic fornications – to put it plainly!’ (sc 2)

The phrase “piece by piece” emphasises the gradual erosion of the DuBois family’s wealth and status, linking this decline to the selfish indulgence of male ancestors. “Fornications” bluntly exposes the debauchery that replaced responsibility. Blanche frames this as a betrayal — not just of wealth, but of legacy and honour — suggesting that corruption in Streetcar is personal, intimate, and generational. From the beginning scenes, abuse of power is prevalent within men. 

‘And lies and conceit and tricks!’ (sc 10)

Stanley exposes the breakdown of Blanche’s illusions which demonstrates moral corruption on both sides. Blanche has built her world on deception to survive, while Stanley uses brutal honesty to dominate. This highlights how corruption isn’t just hidden in actions but embedded in the characters’ identities and power struggles.

‘[Over her head he grins through the curtains at Blanche.]’ (sc 4)

Stanley’s menacing ‘grin’ reveals how he overheard her monologue to Stella where she refers to him as ‘sub-human’ & ‘ape-like’. This makes his grin not just one of passive mockery but of active, malicious scheming as he plots retaliation. It highlights his corrupt desire to maintain control through manipulation and emotional warfare, setting in motion his plan to destroy Blanche's credibility. This powerful gesture reveals pre-meditated, vindicative corruption, rather than just dominance in the moment. 

‘It would be nice to keep you, but I’ve got to be good and keep my hands off children. Adios!’ (sc 5)

reveals Blanche’s moral corruption through dark humour and self-awareness. She's referring to her past scandal involving a student, acknowledging her predatory behaviour in a way that masks guilt with flirtation. This moment exposes how Blanche manipulates charm to deflect from her morally troubling past, highlighting personal corruption hidden beneath her fragile persona. Blanche reduces the young boy to an object of her desire as she, an older & more experienced woman, holds a position of power over the young man.  

‘You’re not clean enough to bring in the house with my mother.’ 

Mitch has been influenced by Stanley’s corrupt nature, and now utilises his masculine power to degrade Blanche.

‘[He tears the paper lantern of the bulb]’ (sc 9)

Mitch shifts from a character who once protected Blanche from the harsh reality of the androcentric society of Elysian Fields with his kindness & gentleness to another part of the cruel world that so relentlessly strips Blanche of her facade. The aggressive verb implies that he too has fallen under Stanley’s influence by participating in demeaning, violent acts to unravel her (already unstable) psychological state; Mitch is complicit. This act displays how corruption spreads through influence and societal decay. 

"Remember what Huey Long said- every man is a king, and I am the king around here" (sc 8)

Stanley’s masculinity, vitality & assertiveness are direct challenges to Blanche’s outdated notions of gentility & refinement.