EXPANDED STREETCAR QUOTES
(WITH AWKWARD COURTESY) HOW DO YOU DO MISS DUBOIS?
again highlights class disparity, juxtaposition of what you see on stage directions vs the lines, appearance and relaity (very much like Blanche)
(SADLY AND FIRMLY) POKER SHOULD NOT BE PLAYED IN A HOUSE WITH WOMEN
juxtaposition of the masculine ‘poker’ and women, imperative verb of ‘should not’ highlights this, only recognition of anything going wrong (but so limited) ironic considering last li e of play is poker reference
MITCH IS DELIGHTED AND MOVES IN AWKWARD IMITATION< LIKE A DANCING BEAR
use of animalistic imagery, idea of ‘sticking out’, like Blanche, adjective of ‘awkward’ juxtaposes the upper class imagery of dancing, also juxtaposes the stereotypically masculine imagery of ‘bear’ with feminine ‘dancing’, use of simile
CAN I -UH- KISS YOU GOODNIGHT
dislocated language, jutaposition of Blanche vs Mitch but Mitch doesn’t try and hide it. This difference is further highlighted in the intimate image of the ‘kiss’, especially as this is what she uses in her past and criminalises her (noticed through her kissing the young boy)
ITS SO HARD NOW THAT A MAN CAN PUNCH ME IN THE BELLY AND IT DON’T HURT NO MORE
so incredibly stereotypically masculine, shows the overreliance of masculinity even on a non traditional ‘hegemonic male’ reinforced through the very poor grammar of ‘no more’ which further heightens the distance between the pair (ill suited)
YOU NEED SOMEBODY. I NEED SOMEONE TOO. COULD IT BE - ME AND YOU BLANCHE?Dislocated language of the repeated short sentences, personal nature of the repeated personal pronoun also reinforces this, but the move to ‘me and you’ highlights the potential unity of the pair - dream for the future
HE SAYS YOU’VE BEEN LAPPING IT UP ALL SUMMER LIKE A WILD CAT
similie, stereptypical female ‘cat’, highlights her feminine sensuality which juxtaposes the motif of alcohol which is so masculine, but the adjective of ‘lapping’ highlights her domesticity and controlled nature.
WHAT IT MEANS IS THAT I’VE NEVER HAD A REAL GOOD LOOK AT YOU, BLANCHE
Links back to the idea of ‘appearance of reality’ and the chinese paper lantern, ironic as Mitch was the one to put it up in the first place, now everything is falling apart around Blanche
YOUR NOT CLEAN ENOUGH TO BRING IN THE HOUSE WITH MY MOTHER
dramatic irony as the audience is aware of all the baths that Blanche is taking, also highlights Mitch’s protective nature of the personal pronoun. of ‘my’ and the stereotypical man taking care of a woman, deepens the rift between the pair.
ALL EXCEPT MITCH, WHO REMAINED SEATED, STARING AT THE TABLE
shows physical difference between Mitch and the other men (through the physical distance between the pair in height), but he is still passive as he is simply ‘staring’ at the table and ‘remained seated’, very passive not involved movement.
SHE CRIES OUT IN PROTEST BUT MANAGERS TO CATCH IT: THEN SHE LAUGHS BREATHLESSLY
verb choice of ‘cries’ and the dual meaning of that (joy or pain) but potential positivity reinforced by the verb choice of ‘laughed’ with the adverb of ‘breathlessly’ highlighting her feminity and how important this must be from the offset - Stella’s first introduction
AND WHEN HE COMES BACK I CRY IN HIS LAP LIKE A BABY…
self depricating nature of ‘baby’, further infantalised by the image of Stella being in Stan’s lap, also highlights both his emotional and physical dominance over Stella.
OH STAN! SHE JUMPS UP AND KISSES HIM WHICH HE ACCEPTS WITH LORDLY COMPOSURE
juxtaposition of very little speech from Stella whereas lots of stage direction focusing on STanley. Stan has the regal power as her is ‘lordly’ whereas Stella is simply overwhelmed with emotion (short exclamatory sentence)
STANLEY GIVES A LOUD WHACK OF HIS HAND ON HER THIGH
Stanley has very active verb choices, physical dominance (and dominance over noise -loud), also on a very personal part of Stella (thigh)
HE FALLS ON HIS KNEES ON THE STEPS AND PRESSES HIS FACE TO HER BELLY, CURVING SLIGHTLY WITH MATERNITY
on the stage, can seen the physical power of the pair (stella is physically higher), but she only wields power due to her ‘maternity’ and ‘belly’, but does successfully use this to her advantage
HER EYES AND LIPS HAVE THE ALMOST NARCOTIZED TRANQUILITY THAT IS IN THE FACE OF EASTERN IDOLS
of the time, very ‘orientalised’ and different, highlights the extent of Stan’s control
HE WAS AS GOOD AS A LAMB WHEN I CAME BACK AND HE’S REALLY VERY VERY ASHAMED OF HIMSELF
repetition of ‘very’ highlights sureness but also infantalises her, further reinforced by the simile of as ‘good as a lamb’ - naive
I THINK YOUR SUPPLY MAN WAS MEAN AND ROTTEN TO TELL THEM
dual adjectives highlights the extent of the emotion, but the personal pronunciation choice of ‘you’ dictates Stanley’s power in the situation, reinforced by the infantalising adjectives of ‘mean’ and ‘rotten’
I COULDN’T BELIEVE HER STORY AND GO ON LIVING WITH STANLEY
distance between the two as Blanche is simply ‘her’ whereas Stanley gets his whole name! Moreover, the idea of a ‘story’ further fictionalises the account and highlights how little she trust her sister
WHAT HAVE I DONE TO MY SISTER? OH GOD WHAT HAVE I DONE TO MY SISTER?
repitition and rhetorical question showcase the physical emotion, feel the emotion to such an extent that they question God! moreover decide to highlight the familial link through ‘sister’ again highlighting the potential gravity of the mistake
HE HEAVES THE PACKAGE AT HER
introduction we get to Stanley, use of the sexual explicit double entendre, but hugely inpersonal (simply uses the personal pronoun of ‘he’, ‘her’ and the nondescript ‘package’
BUT WITH THE POWER AND PRIDE OF A RICHLY FEATHERED MALE BIRD AMONG HENS
typical use of the long flowery stage directions, ironic use of the domestic ‘hen’ vs the dual adjectives of ‘power and pride’ (reinforced by the plosive alliteration of the ‘p’
WHEN YOU’RE SWINDLED UNDER THE NAPOLEONIC CODE, I’M SWINDLED TOO
YOU HENS CUT OUT THAT CONVERSATION IN THERE
infantalising and misogynistic use of ‘hens’ (also appears to refer back to the original introduction of Stan), aggressive verb choice of ‘cut’ (reinforced by the harsh, aggressive ‘c’ alliteration)
STELLA! MY BABY DOLL’S LEFT ME
infatalising, use of ‘doll’ (also very feminine connotations), reinforced by the short, fragmented sentence structure, the exclamation and the possessive pronoun of ‘my’
STELLA HAS EMBRACED HIM WITH BOTH ARMS, FIERCELY AND FULL IN THE VIEW OF BLANCHE
Here, Stella appears to wield the power, she has the active verb choices, and dicattes power (eg through the use of the abrasive, fricative alliteration), on stage provides evidence of the physical distance between Stella and Blanche
WHAT DO YOU TWO THINK YOU ARE? A PAIR OF QUEENS?
repeated rhetorical question, dictates Stanley’s power in this situation, again another example of him mistaking the Huey Long Quote.
REMEMBER WHAT HUEY LONG SAID - EVERY MAN IS A KING
reference to the middle class politician, completely misinterpreted by Stan,
HEY, CANARY BIRD! TOOTS! GET OUT OF THE BATHROOM
harsh abrasive, short sentences and aggressive use of the punctuation. Again makes fun of Blanche’s singing (something very stereotypically feminine) and compares her to something domesticated and weak.
BUT WHAT I AM I 100% AMERICAN, BORN AND RAISED IN THE GREATEST COUNTRY IN THE WORLD AND PROUD AS HELL OF IT
aggressive tone, highlights his defensive nature, too such an extent that he invokes the religious imagery of ‘hell’
THE BOTTLE CAP POPS OFF AND A GEYSER OF FOAM SHOOTS UP
phallic imagery, very masculine and reinforced by the idea of the alcoholic beer, perhaps somewhat ironic as Blanche has used alcohol as her crutch the entire way through the play, and its now being used against her
HE STARES AT HER FOR A COUNT OF TEN
short, sharp, predatory shows the shift in tone as it contrasts William’s other use of the very lyrical stage directions, highlights the danger Blanche now finds herself in.
HE KNEELS BESIDE HER AND HIS FINGERS FIND THE OPENING OF HER BLOUSE, NOW, NOW, LOVE. NOW, LOVE
last relevant action of Stanley, emphasises his reliance on Stella and her feminity and sexuality, he holds all the power (repeated use of the masculine personal pronoun of ‘him’)
I’LL BE BURIED AT SEA, SEWN UP IN A CLEAN WHITE SACK
(THE CATHEDRAL CHIMES ARE HEARD)
YOU’RE BOTH MISTAKEN, IT’S DELLA ROBIA BLUE
THE NIGHT IS FILLED WITH INHUMAN VOICES LIKE CRIES IN A JUNGLE
A CULTIVATED WOMAN, A WOMAN OF INTELLIGENCE AND BREEDING CAN ENRICH A MAN’S LIFE
YES A BIG SPIDER! THAT’S WHERE I BROUGHT MY VICTIMS
I’LL TELL YOU WHAT I WANT. MAGIC! YES, YES, MAGIC!
A BLINDING LIGHT ON SOMETHING THAT HAD ALWAYS BEEN HALF IN SHADOW
I WAS JUST OBEYING THE LAW OF NATURE
I WANT TO KISS YOU - JUST ONCE - SOFTLY AND SWEETLY ON THE MOUTH
I’VE GOT TO BE SEDUCTIVE - PUT ON SOFT COLOURS, THE COLOURS OF BUTTERFLY’S WINGS AND GLOW
DON’T - DON’T HANG BACK WITH THE BRUTES
BEARING THE RAW MEAT HOME FROM THE KILL IN THE JUNGLE
WHAT SUCH A MAN HAS TO OFFER IS ANIMAL FORCE AND HE GAVE A WONDERFUL EXHIBITION OF THAT
THANK YOU FOR BEING SO KIND! I NEED KINDNESS NOW
I BOUGHT THIS ADORABLE LITTLE COLOURED PAPER LANTERN AT A CHINESE SHOP
THAT ONE SEEMS - SUPERIOR TO THE OTHERS
-AND FLIRTED YES - I WAS FLIRTING WITH YOUR HUSBAND, STELLA
NOW THAT YOU’VE TOUCHED THEM I’LL BURN THEM
ALL RIGHT: NOW MR KOWALSKI LET US PROCEED WITHOUT ANYMORE DOUBLE TALK
I LIKE AN ARTIST WHO PAINTS IN STRONG, BOLD COLOURS, PRIMARY COLOURS
YOU MEN WITH YOUR BIG CLUMSY FINGERS
I,I,I TOOK THE BLOWS IN MY FACE AND MY BODY
repeated use of the personal pronoun, highlights the extent to which this has harmed her, reinforced by the repeated references to her body with ‘face’ and ‘body’ and reinforces the extent to whichshe has been hurt and how much it has harmed her
I’M JUST GOING TO TAKE ONE TINY NIP MORE
YES, YOU’RE JUST AS PLUMP AS A LITTLE PARTRIDGE
TURN THAT OFF! I WON’T BE LOOKED AT IN THIS MERCILESS GLARE
THERE IS SOMETHING ABOUT HER UNCERTAIN MANNER AS WELL AS HER WHITE CLOTHES THAT SUGGEST A MOTH