Street car called desire


Thomas Lanier Williams, known as Tennessee Williams, author of A Street Car Named Desire presents the paradox and paradox that real life can offer. It is a staged performance with elements of tragedy and pathos, released and staged in 1947. The theme of the story is the clashes with which the central hero Blanche Dubois has to live. The topic is not dramatic or out of life, as most of us live in a world of our delusions that may be far from reality. While many of us overcome our delusions and differentiate ourselves from the real and fantasies, others, like Blanche Dubois, become victims of excessive delusion. And he knows it. "Blanche explains to Mitch that he blinks as he refuses to accept the fortune of his hand. Lying to her and others allows her to live her life as it should be, not as it is. "

The plot of the story is surprisingly done, which continues to highlight a number of emotional traits that are being tested during human tragedy. Most people are weak because they have to cry on the shoulders of someone in their inevitable need. From time to time this addiction takes on a severe form, as does Stanley's dependence on Stanley for love and support. Mitch, otherwise a sober character, also has no need for companionship, which he finds in Blanche after his mother dies. Blanche also needs support. Whether the support is provided by Stanley or not, it needs analysis. Money is important as it is for Blanche, while Stanley, who is a solid basis for a country worker who is proud of his manhood, must ensure that he is not deceived by Blanche. The drama depicts that while life is moving from past to present, the long past is simply not possible with Stella trying to move on after leaving Bell Reeve or Blanche trying to find a man in her life when her husband commits suicide, or Stanley apologizes for his rude actions. The past continues to haunt them today. Death is shocking, and this is especially so if it involves someone close to you. This can often lead to one view and personality of sudden movement. The death of Blanche and her 39-year-old husband has had a profound effect on her, as have other members of the Dubois family. Mitch confronts the death of his only love, as well as the death of his dying mother.

A few other typical themes that merge into one plot. One such theme is the loss of the world, which meant status and class, and consequently the life of a downward spiral blue ghetto. The impact of this social theme is translated into loneliness, insecurity and cruelty. The two sisters Stella and Blanche originally belong to a world that no longer exists for them. Their family & nbsp; & nbsp; & nbsp; & nbsp; & nbsp; The ancestor plantation, Bel Reeve, is lost. Along with them their world is also lost. The two sisters are the only living symbols of the ancient world. In the second scene, Blanche comments on Stella to Stanley, who says it all: "Oh, I guess she's just not the kind that goes for jasmine perfume, but maybe she's also the one we should mix. with our blood now that we lost Bellevue. "
They have two options. Either face reality and get on with it, or live in a fantasy world where Blanche reconciles. Stella adapts to reality. Now the real world is a tough world of gravity, cruelty, a blue collar culture, and a life that symbolizes Stanley. Stanley represents a raw man who at the same time intrigues and repels. He and his world are at odds with Blanche Dubois's aristocratic world, about which he is no longer an heir, but he persists in his illusions as they stay together, allowing readers to contrast what may be real and illusory. symbols.

Let's see the paradox of Blanche & # 39; s life in life. Blanche & # 39; The illusionary world offers him comfort, as it is in fact his primary means of self-defense. His deceptions do not stem from any malicious intent, but are extreme reflections of his failure to withstand the misfortunes of real life. He seems to be reluctant to confront the head of truth. "For him, fantasy has the liberating charm that protects him from the tragedies he had to endure. Unfortunately, this defense is weak and will be ruined by Stanley. "

Blanche makes a dramatic entrance to the scene, searching for her sister and home. She looks at the apartment building with disbelief as she checks the address. He seems to regret Stella, whose sister had to live in such a dilapidated building. Blache, about 30, elegant and attractive, a little stinky and light in white suit with pearl earrings and white gloves. He finds himself missing and nowhere in the ghetto inhabited by blue collar workers. Blanche tells Eunice when she is asked if she is missing, "They told me I wanted to take a Desire street car, then move one called Graves, swim six blocks and get off the Elysian plains."

From this, it becomes apparent the cocoon of uniqueness that Blanche lives in to protect herself from her weaknesses, including her inability to suppress her sexual desires. He refuses to confess and lies to Laurel about his seductive behavior. “He avoids bright light so that it does not reveal his physical defects; and she refuses to acknowledge her problem with alcohol. As for Blanche, Stanley is rude, rude and dominant, driven by primary instincts. His opinion of him may perhaps be regarded as saying of Stellie: During a conversation with Stella, she says: “He is an animal, he has animals and habits. He is a man who calls a spade a bloody shovel. Its forms are ensemble and linguistic, a working class. He bends down to hell destroying every facade that is Blanche Dubois's protective armor.

It's & # 39; the reality is an illusion. It throws unreasonable tears into the envelope of falsehood. However, we see that Blanche is not completely deceitful to him. She realizes that they have no alternative but to mix their superior blood with the working class, as she regrets the fate of Stella and her 39th child, who will enjoy none of her and her sister's privileges. However, Blanche just can't come to reality. In fact, it is this failure that has grave consequences for him. The time comes for the drama to end when it completely loses its mental proportions.