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Evening Star is the name of the paper that the Young Man comes and delivers to Blanche. This symbol shows Blanche's untamed desire and her path to destruction.

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This symbol appears in the poker night scene. When Blanche turns on the radio, it begins to play. The translated title of the piece is "Vienna, Vienna, Only You Alone," which relates to Blanche's character as a recurring idea is that she does not want to be alone. In addition, this symbol relates to the contrast between Blanche and Stanley, as a waltz is sophisticated and refined (like Blanche APPEARS to be), whereas Stanley is sketch (and he's the one to shut down the music).

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Rhumba (with an h) is the combination of ballroom music and dance that arrived in 1930s. Combines American band music with Afro-Cuban rhythms so can be the music can be used to give an indicator of the context.

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Streetcar is also a recurring symbol within the play. The name of the play is "Streetcar." It also occurs in Scene I, where Blanche says the streetcar named "Desire" brought her here, and then the streetcar also leads to the cemetery. Streetcars follow a fixed route and has no control. The "streetcar named desire" demonstrated Williams' idea that our lives are controlled by desire, and that desire (which leads to death) is something we do not have a control over --> this is the tragic element that leads all the characters to ultimately clash.

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In Scene 4, Blanche attempt to use the telephone in order to contact the Western Union to contact Shep Huntleigh. Shep is a rich man she had met in the past, and she attempt to contact him for help. This is symbolic of aid - Blanche constantly tries to call for help through the phone, and fails.

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Baying hound is one of Stanley's stage directions in scene 3. After Blanche takes Stella up to Eunice's apartment, Stanley "throws back his head like a baying hound and bellows [Stella's] name. The simile depicts Stanley's animalistic and aggressive behavior. Additionally, the simile could represent Stanley's dependence on Stella to fulfill his needs, just like a dog is dependent on his owner.

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The train appears in scene four, when Stanley enters the house and overhears Stella and Blanche speaking. The sound of the train may symbolise Stanley's character, as Stanley is a very dominant and powerful character. The train also allows Stanley to enter the scene, without Stella and Blanche hearing him come in.

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Cigarette lighter is a recurring symbol. It first comes up when Blanche meets Stanley, with Blanche asking Stanley to light her cigarettes. This then occurs again when Blanche meets Mitch, who shows her his cigarette lighter. Happens again when Blanche offers to light cig' of young man. Cigarette lighter is an important symbol, as it shows the sharing of intimacy b/t two people. The fact that Blanche shares this intimacy with many demonstrates her mischievous and vice-filled nature.

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Shep Huntleigh is Blanche's rich friend and he is mentioned in scene four. In this scene, Blanche is trying to write him a letter and ask him for some money. Shep symbolizes a high-class person, who is being compared to Blanche's character when she lived in Belle Reve. The mentioning of Shep also reveals part of Blanche's past as it shows how she is broke but she uses her physical appearance and mannerism as a facade. Shep's character also signify Blanche's social status and some context to why she may find Elysian Fields to be unpleasant.

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In the stage directions, Mitch is compared to a "dancing bear" as he moves in awkward imitation. This characterization of Mitch shows him as an awkward man who lacks the poise and confidence of a man that would impress Blanche.  This foreshadows the awkward relationship between him and Blanche.  A bear is large and hairy and lumbers around and this shows his lack of grace.  As  foil to Stanley, Mitch clearly does not have the animal magnitism of the "gaudy seed  bearer."

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Pg. 89
Virgo is Blanche's star sign, the sign of the virgin. This is ironic as Stanley soon reveals that he has learned Blanche was very promiscuous while in Belle Reve and that this is partly the cause of her leaving and coming to live with him and Stella. Later when she meets the Young Man she kisses him and says "I've got to be good–and keep my hands off children.

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This musical element is present in Scene Three (page 67) when Stanley yells for Stella to come down the rickety stairs. This perhaps depicts the animalistic desire Stanley and Stella have for each other, as they cannot stand to be apart from each other (Stella especially as she was the one who was abused). With desire being their strongest bond in this unhealthy relationship, both Stanley and Stella's primitive desire is clearly present, highlighting the abusive cycle in their relationship.

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This symbol appears at the end of scene 5, after Blanche has dismissed the paper boy, and Mitch arrives with a bunch of roses. This symbol is an allusion to the Opera, Der Rosenkavalier, which follows a young boy (Octavian) falling in love with Sophie. Sophie's father disapproves of their relationship and sends Sophie to a convent, but Octavian manages to find a way for him and Sophie to end up together. By Williams using this allusion, he illustrates to the audience Blanche's romantic idealization that Mitch will solve all of Blanche's problems, and they will find a way to be together, even amidst Stanley's aggression and Blanche's lack of belonging in the vibrant New Orleans.

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Pg. 99
This is what the Young Man delivering the newspaper drank before getting to the house and meetings (and being kissed by) Blanche. “Young Man: A cherry soda. Blanche: You make my mouth water.” This symbolizes his youth and innocence as a cherry cola is sweet and often consumed by children. This is significant as Blanche proceeds to make advances on him, which foreshadows her past relationship when she was very young and her sexual past.

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This symbol is from scene 7, on page 120, when Blanche is in the bathroom singing while Stanley and Stella are discussing in the main room. "It's only a paper moon, just as phony as it can be- But it wouldn't be make-believe if you believed in me!" The paper moon symbolises the fake or phony story that Blanche is telling to everyone around her. It is ironic that she is singing about lies and deceit at the same time as her story is being uncovered to Stella and the audience. The symbol links to the theme of appearance vs reality as it shows how a real-looking object can actually be made of fake underlying materials, much like Blanche.

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This symbol can be found in Scene 5 (pg. 89) during a conversation between Stanley and Blanche. Stanley asks Blanche if she happens to know "somebody named Shaw" from Laurel. Blanche immediately reacts with shock and becomes fearful and defensive, denying knowing the man or ever being associated with the Hotel Flamingo. The man can therefore be seen as symbolic of Blanche's past. Despite her trying to run from it and pretending to be another person, it still comes back. This further characterises Blanche as a liar and foreshadows what the audience later finds out about her time in Laurel.

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Stella is described as reading a book of colored comics in the opening of Scene 4. As comics are childish and are mostly images, reading comics possibly helps highlights how Stella has left her intellectual and intelligent past behind when she has settled in with Stanley, portraying how she has given in to desire. Stella has lowered her standards of living to live with a common man like Stanley, and seems to be able to accept that peacefully.

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This symbol is found in page 60, when Blanche bought a lantern to cover up the light bulb. The paper lantern symbolizes Blanche's constant fear of being perceived as an ugly person. This also show Blanche's deceptive nature as she is trying to cover up her aging face and also characterizes Blanche as someone who is mentally unstable and also create an uncertainty in the reader's mind about Blanche's character.

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The white radio can be found in scene three (poker night). This prop produces conflict in the scene, as Blanche and Stanley argue over whether to have it on or off. Eventually, this petty fight leads to Stanley displaying his impulsive and aggressive nature. The symbol of the radio represents conflict, as well as the contrast between Stanley and Blanche.

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Symbol comes up at scene 4, where Stella's eyes and lips are said to be almost reminiscent of "the narcotized tranquility of the faces of Eastern idols." This is an interesting juxtaposition between previous events (the violence of the previous scene). Narcotic reference is very important --> it is like Stella is addicted to this vulnerable and unstable cycle of domestic violence. Another important factor to factor in is the fantasy and almost unreal nature of "Eastern idols" and "narcotics" --> the audience (and Blanche) sees the events of previous events and the juxtaposing calm as almost a dream. This perhaps reveals that, to those coming from the expectation of the "Old South," this new violent unstable reality may seem surreal.

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The portiere is a very important part of the set and Williams uses it to enhance the conflict between Blanche and Stanley. In Scene 1 Blanche notices that the bedroom does not have a door and is only separated by a thin curtain. She wonders if "it will be decent." (Little does she know!) This portiere is then used later by Blanche to seduce Mitch as she dances to the Rhumba music behind the curtain. Stella tells her that she is standing in the light, to which Blanche remarks coyly, "Oh, am I?  Clearly she is using this portiere to lure Mitch. This portiere is used later on to great effect but I cannot spoil it for Beam.
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