Big Picture: Scene 5

Learning Objective: To analyse the conflict between the past and the present in Scene 5.

We started the lesson by looking at two notions of tragedy (see below) and discussed how they link to Streetcar:


The quality in such plays (Modern Domestic Tragedy) that does shake us, however, derives from the underlying fear of being displaced, the disaster inherent in being torn away from our chosen image of what or who we are in this world. Among us today this fear is as strong, and
perhaps stronger, than it ever was.
Arthur Miller, ‘The Tragedy of the Common Man’

Miller suggests that in Modern Domestic tragedies, the emotions experienced by the audience is brought about through the fear of being taken out of a place we build for ourselves in
society. Our “chosen image” is usually how we see ourselves and want others to
see us by.


Tragic protagonists of the 20thC are prepared to devote themselves to some idea or notion which may range from a political or economic belief to the simple need for utter personal integrity in a world which demands compromises.

We admire their right to assert this in an unsympathetic society.
English and Media Centre, ‘Tragedy, A Student Handbook. 2009’

This second notion of tragedy explains that modern protagonists dedicate their lives to holding on to an idea from the past in order to keep a stable state of mind. Also, this idea touches on a “world that demands compromises” where characters are often forced to give up their ideologies in order to survive a harsh, unsympathetic reality. Linking to the first notion, the idea that the fear of losing this is “perhaps stronger” suggests there is more pressure to adapt to society and adopt new attitudes gives us the impression that the world is moving forward much more
quickly.

Blanche as the protagonist of A Streetcar Named Desire fits these two ideas very nicely, as she has devoted herself to her illusion of the Old South, and often lies to others to create an image of herself as being young and mannered, like a lady of the South. Her inability to adapt shows she still holds on to her past and her ‘image’, but finds it difficult to adapt as the modern world does not allow her to – often, she is disrupted from her fantasies and constantly reminded (e.g. Blue Piano)
of the new world she is forced to live in.


Going back to the Learning Objective, we then looked at Scene 5 and picked out evidence to show the conflict of the past and present.

Key:
Tension between past and present
Quotation
How Williams creates this tension

· Blanche is daydreaming about Shep, and then Steve and Eunice have a row: “teas, cocktails and luncheons –” A disturbance is heard. Williams used sound and situation to bring Blanche back into the reality she is trying to escape from (world is unsympathetic)

· Blanche trying to hold onto her “pure” image of herself: “Virgo is the virgin” “[drink spills] Right on my pretty white skirt!” Symbolism of white shows she is trying to act pure and innocent, but the stain shows otherwise.

· Hiding light to hide her age: “put a – paper lantern over the light…” Trying to hide from her new image, holding onto past.

· Blue Piano constantly reminding her of the new North: “The music is slow and blue.” Daydreams and illusions of the old Southern ways are repetitively disrupted, conflicting with the modern music.

· Romanticises relationship with Mitch: “My Rosenkavalier”. Imperatives command him and he follows with actions, Blanche wanting him to be her fantasy.

· Flirting with a younger man: “Has anyone told you that you look like a young prince?” Again, fantasising that the boy is a prince, and shows she is trying to be young again and for other people to see her as she wants them to.

Overall, the conflict between the past and the present reflects Blanche’s personal struggle of her inability to let go of her past and adapt to the demanding and unsympathetic new world.

Emma