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Topic: Point of View and Characterization

Passage: “Then marry me, Mitch! … You’re not clean enough to bring in the house with my mother.” (150)

In Tennessee William’s novel A Streetcar Named Desire, the author makes use of Mitch’s perspective, exhibited in his sense of morals and justice throughout the novel, to juxtapose Blanche’s desire to settle down immediately and marry him despite committing atrocious acts in the past in order to illuminate how the untruthful and manipulative will be struck down by misfortune and tragedy once the harmful truth is revealed. In an argument between Mitch and Blanche regarding Blanche’s true character, Blanche pleads out to Mitch to “marry me,” but is met with disagreement from her admirer because Blanche is no longer “clean enough to bring in the house with my mother.” (150) This altercation between the two strikes the reader with Mitch’s change of heart as a result of Blanche’s history being revealed through Stanley’s investigation. Thus, the reader establishes that Mitch is pure and just in turning down the lying and mistrustful character of Blanche. Furthermore, Mitch describes Blanche as “not clean enough,” not necessarily appealing to a physical sensation, but a metaphorical one as the vile and manipulative acts Blanche has committed in her past, like romanticizing with a young student, tainted her clean soul, making Blanche unfit for Mitch’s love. Within Mitch’s disapproval for Blanche after coming to terms with the truth of her past, Tennessee Williams illuminates how tragedy and misfortune crashes down on those who keep up an act of mystery and deception around others, ultimately illustrated in the end of the novel when Blanche is sexually assaulted and sent away to a mental institution.

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In Tennessee William's novel "A Streetcar Named Desire" one great issue between the characters Blanche and Stanley is their class distinction. Williams best displays how the class distinction affects how Blanche views Stanley from a passage in scene four. In an argument with Stella Blanche can only describe Stanley as "an animal" (83) pointing out that he "eats", "moves", and "talks like one" (83) declaring that he is "sub-human" (83). The specific word choice illustrates how Blanche views herself as better than Stanley and Stanley on the lower tier on a social scale. Arguing that he is essentially an animal because he acts likes one according to her, Blanche has her own views of how men should behave especially around women, however, that is because of her upbringing dictating men as the saviors of women which requires them to act a certain way. She goes on to continue this idea of him being less than human titling him "survivor of the stone-age" (83) and warning her Stella to not "hang back with the brutes" (83). Her description of him as a primitive human cements to the reader that she views him as sub-human incapable of complexity that her and Stella have. Empowering her belief that those of the lower class cannot evolve or progress and only people of higher class are capable of it.

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"I... action" (60)

In "A Streetcar Named Desire" by Tennessee Williams a comparison and metaphor on page 60 are used in order to highlight Blanche's desire to hide from reality and project the lie that she is young. While Blanche is having a conversation with Mitch within this scene, she requests that he "put" a "little colored paper lantern" that she bought "over the light bulb," this request symbolizes her wish to hide the reality of herself in the darkness under a pile of lies. She cannot "stand a naked light bulb, any more than I can a rude remark of a vulgar action," this comparison of a light bulb to a rude remark alludes to how she cannot stand reality, similarly to how a vulgar action could reveal someone's true self, the light is able to reveal her true self. Blanche does not want to be seen in the light and desires to stay within the darkness, this is her safe place and where she is able to keep up the lies of her youth.

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In the poem "Rites of Passage", by Sharon olds, she utilizes symbolism and metaphors in order to convey the growing adherence of young boys to the societal expectations that has been laid out for them to follow. Through her forms of symbolism, metaphors, and similes, Olds addresses her own concern of seeing her son won over by the militarized play and romanticized impersonation of real adult men. Many of the moments observed from the mother's perspective helps to illustrate the innocence that these young boys express, but also their own loss childhood. The birthday party in itself symbolizes a miniature version of society, where gender roles and power dynamics are already present in the boys' "imaginative" play. In addition, the birthday party depicts the evolution of her son from a young boy to a "young short man". In regards to the 'militarized' environment, the fights between the boys helps illustrate a battlefield of clashing ideologies within a society provoked by men and their aggression and violence, but also acts as a physical battlefield for the young boys to indulge in their somewhat concerning imaginative play. In order to convey her growing concern over what she is observing from the boys, she includes similes to reinforce their rather violent play. " long hands/cool and thin as the day they guided him out of me" (line 19), which alludes to the mothers remembrance of her sons birth, and the contrasting event of her son being taken away from her and being absorbed in the mess of violence and aggression that young boys are taught at such a young age. Further, " they clear their throats/ like Generals" (Line 25), another simile which attributes the boys previous impersonation of adult men, yet now they are depicted as acting like leaders of the battlefield. The "clearing of throats" also reinforces the idea that the boys are in fact influenced by the prominent figure of men and the dominance that is observed through their own young lens. For this fact, the addition of symbolism, metaphors, and similes is important because it enforces the societal expectations and conformities that are pushed upon boys at such a young age.

-Amelia

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In the novel,¨ A Streetcar Named Desire ¨ by Tennessee Williams, Blanche converses with Eunice and Stella regarding the color of her jacket which ultimately brings the spotlight to the jackets significance. Blanche seemed to not be accepting anything other than the exact shade when it is specified,¨Itś Della Robbia blue. The blue of the robe in the old Madonna pictures ¨ (169), essentially leading to analysis that the jacket happens to showcase the fact she is still a virgin and ultimately shows her purity. Earlier on in the novel it is specified and focused on the fact a specific window happened to have a blue light reflection which draws back to the religious/pure section of the novel itself. Blue windows are typically seen at churches and while the color blue is being mentioned in the novel, it is able to be assumed that the mention of the color is never a mistake but rather a refocus on to the purity or religious attributes of the characters.

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"You're both mistaken. It's Della Robbia blue. The blue of the robe in the old Madonna pictures. Are these grapes washed?"-(169)

In Tennessee William's "A Streetcar Named Desire", the perception of Blanche's character is shifted when she is given off into the mental institution after seeking and telling the truth for the first time within the play. Blanche, throughout the play, being characterized as a liar and untrustworthy, seeks truth after Stanley's assault but is not believed, marking the decent into her madness which then leads her sister, Stella, to get rid of her with the consultation of Stanley. The mention of the "Della Robbia blue" jacket marks a change in the conformed style that Blanche is characterized by, her white clothes. "The blue of the robe in the old Madonna pictures", in changing this aspect of her and connecting her to the image of the Virgin Mary, now paints her as a benevolent and generous person, which in the context of the play is off since every character has their unique irredeemable quality. Blanche's mention to the color of the jacket and the connection which it has to purity and virginity keeps up with the lie she wanted so desperately to uphold. Her grasp of this view and the mentioning of it to Stella marks her last attempt to console herself with her twisted point of view.

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In the poem "The One Girl at the Boys' Party," Sharon Olds utilizes metaphors and symbols in order to indulge into a deeper meaning that branches far out beyond just a party. In other words, as water is often used to act as a symbol of baptism, to evoke that sense of purity or moreover a new beginning, the water within the pool goes on to indicate how the girl crosses from childhood into that stage of maturity, nonetheless starting anew. However, taking into account of the narrator's use of precise details that can even be perceived as meticulous, the idea that the girl within this poem finds herself drowned in "the numbers bouncing in her mind like molecules of chlorine in the bright blue pool," alludes to the concept of how she is practically fabricated of so many elements to the point that differentiates her from the rest. In fact, by describing her as "hard and indivisible as a prime number," Olds elevates her individuality, in order to highlight how she cannot be broken down or "simplified" by others due to the complexity of who she is as a person within a group of people who can be observed as "the same" (6). That being said, as the girl is depicted to stand out in a sea of boys, it represents the societal expectations and pressures that the girl encounters as she navigates her way through as she grows up to become someone of her own. Overall as symbols and metaphors tie in altogether, the work as a whole can be perceived to delve into the notion of how throughout the years a thick line has been drawn between men and women resulting with Olds acknowledging the leap women have taken to participate in what has been considered a "man's" work field.

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"Drew... lucky" (163). In Tennessee Williams' play, "A Streetcar Named Desire," a reoccurring theme is Toxic Masculinity and its oppressive nature, a character that strongly resonates with this theme being Stanley Kowalski, his nature perpetuated through the way he carries himself and converses with others, especially women. Poker is a reoccurring motif, usually symbolizing the clash of masculinity and femininity as Stanley is far more short-tempered during these games, this passage finally shifting, Stanley's tone still demeaning and crude as he refers to Pablo as a "greaseball," underscoring how he still feels superior in his home, finding it to be his space to fully rule. Rather than anger in this match, Stanley seems rather light, happy even, as he goes on about his outstanding "luck," stating that it is simply "believing you're lucky," and that it is the only way to "hold front position in this rat-race." With knowledge of his prior actions, his elation feels rather ominous and taunting, the weight of his past actions and implied assault on Blanche hanging heavily as he sits there, content at his newfound wins. As it is the day of Blanche's departure, his light mood is underscored by an amusement of sorts, his cards being dealt as he willed them to be, simply because he "believed" they would be, his lucky streak lying entirely in his Poker win, his clash with the femininity that threatened his standing at the top of the food chain, his actions going unpunished while he gets everything he had sought after. He is continually seen oppressing Stella through his aggressive and volatile nature and in his eyes, as he tamed Stella, he has tamed Blanche as well, the nature of his masculinity corrupting all those that stand against it, symbolizing not only him, but grander social issues such as the patriarchy and most social constructs of the time.

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Passage: "Lets turn the light...good and plain!"(pg.144).

In "The Streetcar named Desire" by Tennessee Williams, the paper lantern symbolizes Blanche's desperate attempt to disguise the truth and protect herself from the painful light of reality. She places it over the light bulb to soften its brightness, saying that she cannot stand naked light bulb. The light represents truth and exposure, and the lantern hides it, much like Blanche hides her past behind charm. When Mitch rips off the lantern and insists to "turn on the light", the moment becomes a metaphor for Blanche's illusions being stripped away. Mitch's demand to see her "good and plain" shows how the reality she's been avoiding can no longer be hidden. The lantern itself mirrors Blanche, fragile and filtered. By tearing it away, Mitch not only exposes her physical appearance but destroys the world of lies she built to keep up her pure persona.

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"He was a boy, just a boy, when I was a very young girl. When I was sixteen, I made the discovery -love. All at once and much,much too completely. It was like you suddenly turned a blinding light onto something that had always been half in the shadow , that's how it struck the world for me.(144)"

In this passage, the words that stand out most are “boy,” “girl,” “sixteen,” “discovery,” and “love.” These words highlight how young and innocent the speaker was when she first experienced love. The line “When I was sixteen, I made the discovery—love” is important because it shows that love felt like something new and life-changing, not just a normal feeling. The word “discovery” makes love sound like a sudden realization or something powerful that she found all at once. The writer uses the image of a “blinding light” turning onto something that had been “half in the shadow” to show how love opened her eyes but also overwhelmed her. Words like “boy” and “girl” remind the reader of how young both people were, while words such as “completely” suggest that her emotions took over everything. Some of these words have double meanings, for example, “completely” means both fully and uncontrollably. Tennessee Williams includes this language to show how the speaker’s early experience with love shaped her deeply, revealing both the beauty and the danger of feeling too much too soon. _ Viridiana G

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In the poem "The Possessive" by Sharon Olds the speaker utilizes diction to portray the betrayal a mother experiences as a child begins to grow up. The speaker uses words such as "sharpened" (5) and "sliced" (11) as a way to demonstrate the pain inflicted by her daughter growing up. Furthermore since it is something that she cannot stop it can be seen as an inevitable betrayal of life, of growing up. Which leads the daughter to be seen as something violent. However the speaker later on in the poem seems to mention her daughter as something more delicate, "resin light" (18) which conveys the actual child as something fragile of hers. Since the child is both conveyed as violent and delicate, the speaker seems to accept that the child will always be theirs not as a possession but rather someone that is moving in time with her that will betray her by aging but will always be her child.

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In the poem "Rites to Passage," the writer Sharon Olds uses comparisons in order to not only describe how the children at her son's birthday party are acting like grown men, but to also compare this behavior to the expected innocence of a young child. The speaker, or the mother of the boy whose birthday party it is, describes the kids having "smooth jaws and chins" (4) noting the fact that these are still young boys in the ages of 6 or 7. However, she also notes their adult like behavior, comparing them to a group of small bankers. Other than to characterize the violent nature of the boys at the party, the speaker also uses comparison to look back at a time when her son was someone fragile compared to his present nature. She provides a description illustrating her son, comparing his freckles to "specks of nutmeg on his cheeks" (16), and his chest as "narrow as a balsa keel of a model boat" (17). This description, contrasting previous descriptions of the boys, is meant to demonstrate the innocent and gentle nature that is expected by the speaker. Evidently, these comparisons are meant to show the concern she has for her son, as she grows too fast and is showing signs of premature violence.

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In the play "A Streetcar Names Desire," Tennessee Williams utilizes Blanche's delusional idea of Mr. Shep Huntleigh as not only a savior to extract her from an "unpurified" world, or the city of New Orleans, but also as a source of redemption. For example, as Stanley questions the existence of a millionare at her midst, she beleives she has "things to offer," such as her "physical beauty." To account for all Mr. Shep has to offer, his money and "respect," Blanche is lead to believe that her mere beauty and "richness in spirit" would be enough to cultivate an "enriched man's life." Similarly to how religious endeavors look for a source of redemption, Blanche takes that role in searching for a place to live a flourished life without a worry of criticism and backlash for past mistakes. However, even though Mr. Shep's existence takes place of a stained illusion, having been mentioned far throughout the play, Blanche's faith in his coming is one that drives her to believe that a life of treasure is to come her way. Mr. Shep takes the role of that person, that imaginary person being that was her final source of reliance and salvation.

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In the first scene of the play "A Streetcar Named Desire" by Tennessee Williams, Blanche relentlessly tries to make herself appear younger and more youthful. On page 5, Williams writes "Her delicate beauty must avoid a strong light. There is something about her uncertain manner, as well as her white clothes..." this quote allows the readers to compare Blanche to a moth. Not only in this particular passage but throughout the play thus far, Blanche makes it apparent that she does not like to stand underneath direct light, which can be interpreted as Blanche not wanting to be perceived as older looking. Additionally the color white in this passage represents youth and purity, the white clothes that Blanche wears helps to portray the younger appearance that she longs for.

-Mayeli M.

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“I don’t want realism, I want magic!...Don’t turn the light on!” (Scene 9, 145)

In A Streetcar Named Desire, a novel by Tennessee Williams, the author makes use of symbolism and metaphor to expose any hidden truths or lies the characters are hiding and take advantage of it, ultimately illustrating the tension between interactions and relationships with characters such as Mitch and Blanche. The mention of magic is something that Blanche is connected to due to her wanting to be seen as young and beautiful, which Mitch turning on the light exposes the “magic” of her true age, a metaphor for how she decieves people into thinking she’s young and would want to keep it that way since she doesn’t like to be seen as old. She even outright tells him “I don’t want realism, I want magic!“ (145), meaning she wants to keep living in a world filled with lies, up until Mitch turns on the light she screams “Don’t turn the light on!” (145). This means that Mitch can easily crack the code and see through Blanche’s lies if he shines a light near her because throughout the novel, they both have interacted in places that are dark enough so she doesn’t feel uncomfortable and now that he has the advantage of seeing through her lies, he can finally see who she truly is (besides the fact that he was also told by Stanley). Normally, the use of light is symbolic for hope or freedom in many works of literature, but in this case it’s often used to expose any sort of hidden truths and lies that the people in the novel spot, most often being Blanche since Mitch finds out about Blanche’s background and doesn’t fall for her lies anymore, causing her to admit to him “I misinterpret things to them. I don’t tell them the truth, I tell what ought to be truth” (145), even going as far as to live by those lies and be “damned for it!” (145). This is also a common symbolism for deception and manipulation since most of her life has consisted of wanting to be with someone and feeding them lies about herself, which she can no longer do because Mitch now knows the truth and has caught her red handed.

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In the play "A Street Car Named Desire", Tennessee Williams uses diction to reveal the true nature and Blanche. In scene nine when having a conversation with Mitch Blanche exclaims "I want magic... Yes, yes, magic!"(Williams 145). The word magic is a deliberate choice as magic is not real. Blanche doesn't want reality she wants to live a lie. Blanche's life has been full of lies to deceive those around her about her true character. Williams repetition of the word further emphasizes the importance of his point. Further in the passage Blanche says she will "misrepresent things" to people and that she won't always "tell truth"(Williams 145). Blanche avoids directly saying shes a liar. Even after being seen through bu Mitch she try to maintain some dignity and presence to avoid being directly labeled a liar. After everything she still is trying to shift the narrative to paint he in a better light. Williams' diction demonstrates that Blanche is a liar and manipulator who tries to change reality to fit her dream narrative.

-Kai W.

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In the poem "The Planned Child," by Sharon Old's, her word choice expresses how the speaker, at first, wishes she came into this world unplanned. The speaker wishes that she came into this world as a "mistake," (8). The definition of the word mistake is, something done wrong, thus it holds a negative connotation. Nevertheless, the speaker wants to be this word, because to her it holds a positive connotation, to her, to be a mistake is to be conceived "in heat, in haste, in love, in sex," (8). She doesn't want to be a planned baby, or conceived as if to fulfill a goal, she wants to be conceived out of messy, unorganized, in the moment love, for to her that seems more passionate.

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"All... Swindled" (33)

In Tennessee Williams' A Streetcar Named Desire, Stanley is described to be selfish via the use of his own word choice as displayed in page 33, Stanley calls for the Napoleonic Code which took away the right to women and gave them over to their husbands in France. The call for this code is to be able to rule over Stella and these intentions are clear as he talks about him being "swindled" if Stella is swindled. Stanley wants to be able to be in full control and Stella's sister, Blanche has arrived in fancy attire and reap some of the riches that she may have. The Napoleonic code is only used as the sisters are French and mitigates the fact they both live under the United States in New Orleans which is in fact not under French rule which just makes Stanley overly selfish and controlling.

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In "A Streetcar Named Desire" by Tennessee Williams, Stella views Stanley's actions as normal in the passage 'I.... guess" (74), and see no issue within them. as the passion includes the word "desire" as a way to show that Stella is in no rush to leave but rather stay and deal with Stanley's actions. Along with "promise" being used repeatedly and to try and make Stanley seem like a good person due to providing Stella with all these promises but in reality he is unable to fulfill those promises. Therefore, when Stella describes that "People have got to tolerate each other's habits,I guess" it is truly her trying to convince herself that she needs to get use to how Stanley behaves instead of leaving him.

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Passage: “He acts like an animal…. Don’t - don’t hand back with the brutes” (83).

In A Streetcar Named Desire, by Tennessee Williams, the recurrence of Stanley being compared to animals reveals his primitive nature, highlighting his later need to assert power and domination, and how this relates to his desire. Blanche tells Stella that there is “something ape-like about him” and likens him to a “survivor of the Stone Age” (83). Blanche comes from a very different background than Stanley does, and so she does not understand his behavior, which seems like an “animal’s habits” to her (83). Blanche warns Stella not to “hang back with the brutes” as she is frightened of his animalistic tendencies and the domestic abuse he puts Stella through (83). These recurring comparisons make Stanley more clearly a primitive character than is entirely driven by desire, as demonstrated by his desire to sleep with Stella constantly. This shows how desire governs his actions and that it brings him to demonstrate domination. He instinctively and primitively values domination, which is why he later goes on to demonstrate the full extent of power when he rapes Blanche. Through the likening of Stanley’s character to an animal, the values of desire and domination go hand in hand to explain his less refined and more animalistic state.

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In Sharon Old's poem, "The Planned Child," the speaker makes use of assertive diction in order to reveal her hatred towards being planned. In the beginning of the poem, she reveals she "hated" the fact she was planned rather than conceived "in heat, in haste, by mistake..." highlighting the speaker's desire to have been made out of passion as opposed to a plan. The speaker's choice of words ultimately reflects her underlying wish and value of passion and love. Later in the poem, the speaker employs repetition in order to convey her mother's profound love. She asserts that this world was "not enough" without her being in it, "not the moon" or "the sun" could ever compare to the speaker's presence. To her mother, "none of it" could ever suffice. The repetition of nothing ever being enough captures the speaker's mother's profound love which prompts the speaker to ultimately accept her birth. Overall, the choice of words reflects the speakers original hatred and then reveals her sign of acceptance as she grows to understand her mother's planning was rooted in love.

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In "A Streetcar Named Desire" by Tennessee Williams, Blanche's persona is carried on by the allusion on how she believes she can keep feeding her lies to Mitch and he will take it. In page 145 Blanche depicts her perspective as "I don't want realism. I want magic! [Mitch laughs] Yes, yes, magic! I try to give that to people. I misrepresent things to them. I don't tell truth, I tell what ought to be truth. And if that is sinful, then let me be damned for it!- Don't turn the light on!". Representing her true nature and her depiction to be right and correct. The visual aspect of confronting Mitch to not turn on the light suggests that she really wants to hide within the darkness. She feels to comfortable in the dark without light so Mitch doesn't see she looks way older. Her character lives on the idea that she is young, and she thrives in complements. This point of view has an effect on how we see Blanche and how she wants to deny and deceive. -Keily R

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In the free-verse poem "Rites of Passage," Sharon Olds employs multiple similes and metaphors to illustrate the efforts of the young boys to appear older than their age. For example, the ironic metaphor "a room of small bankers" (11) and the simile "like Generals..." (25) compare the boys at the birthday party to older men with consequential careers to foreshadow that they will one day become men against their mothers' wishes. Contrastly, the visual similies of "freckles like specks of nutmeg" (16) and "chest narrow as the balsa keel of a / model boat" (17-18) reflect the visible youth of the speaker's son to illustrate her burning desire to continue seeing him as a small boy even as he and his friends are growing up in front of her eyes. The symbolism of the birthday party in particular underscores the inevitability of the speaker's son getting older year after year, contextualizing her concern over her son becoming a man.