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The Night Cafe 1888 Vincent van Gogh |
Tennessee
Williams was a brilliant playwright who combined literature with visual
artistry. Taking symbolism and motifs from his palette, he created a work of
art, with layers of complex feelings and emotions for the human condition in
his masterpiece entitled A Streetcar
Named Desire. He used light and dark to represent the theme of reality
versus illusion, as well as color to further define the characters and
emotionality of the play. Through conflicts in sexuality Williams brought
awareness to the complexity of life. The recurring demise of characters through
their sexuality is apparent from the beginning of the play. Possibly from
experiences within his own life, Williams used symbols and motifs to explore
and raise awareness of tragedies and conflicts in human and social interaction.
Tennessee Williams used light and dark
as symbols of reality and illusion, a theme throughout the play, which Blanche
Dubious struggles with. Upon Blanche’s first arrival to visit her sister,
Stella gives Blanche a compliment on her looks and Blanche exclaims, “God love
you for a liar! Daylight never exposed so total a ruin,” (12). She says this
because she would rather be lied to about her looks than hear the truth that
she may not look her best. The daylight, or any light is her enemy, exposing
the truth. During the poker
night, Blanche tells Mitch, “I bought this adorable little colored
paper lantern at a Chinese shop on Bourbon. Put it over the light bulb! Will
you, please? I
can't stand a naked light bulb…” (54). What she is really asking Mitch when she asks him to affix the
Chinese paper lantern is to cover the harsh reality of the light
bulb. The light is a motif reinforcing the theme of reality versus illusion.
She is afraid the bright light will show the reality of her aging face, with
the lantern dimming the light bulb, simultaneously, reality is dimmed and she
creates an illusion of youth, which helps her to exist. Blanche relies on her
looks to feel good about herself it is her highest priority.
Blanche
believes how others perceive her is the way she really is. She explains, “I
never was hard or sell-sufficient enough. When people are soft--soft people
have got to shimmer and glow--they've got to put on soft colors, the colors of
butterfly wings, and put a--paper lantern over the light.... It isn't enough to
be soft. You've got to be soft and attractive. And I--I'm fading now! I don't know how much longer I can turn the
trick,”(82). All her life Blanche has presented an illusion about herself to
others. The illusion is who she is. When youth was on her side, it was easy,
but now she is aging and she fears she doesn’t have much longer before the
illusion is gone. Later in the play when Mitch demands to see her in the light
without the paper lantern she exclaims, “I don't want realism. I want magic,”
(127). But at this point he confronts her with all of the realities she has
been hiding, stripping her of her illusions. Not only is she hiding from the
light’s exposure to her physical looks, she is hiding from it exposure of her
past. She is hiding in the darkness from the realities of her life, which she
does not want to face. In reality, Blanche feels shame for her past, filled
with infidelities, and the loss of her position at the school. She is in
despair, having lost her home, having no money and no future. Her illusions are
her survival. Without fantasy Blanche cannot live in a world of reality and
retreats further and further into the darkness of her own mind. After Stella
has Blanche committed to an institution, in the last scene Stanley strips away
her illusions for the last time. “He crosses to dressing table and seizes the
paper lantern, tearing it off the light bulb, and extends it toward her. She
cries out as if the lantern was herself,” (152). The lantern had created a
darkness filled with illusions. When Stanley tears the lantern off the light
bulb, the bright light sheds the reality of her aging, without a home or money,
and without love. Similar to the symbolism of light and dark, is the symbolic meaning
of colors in the play.
Color is
used throughout the play symbolically to express personality of the characters.
When Stanley’s character is
introduced in the play in scene one he is throwing a“red-stained” package of
meat at Stella. Red is symbolic of his coarseness and raw uncivilized
animalistic sexuality. Again,
red is used when Blanche wears
the satin robe in scene two to symbolize sexuality while she is flirtatious
with Stanley. When Blanche is first introduced to Mitch, so he can remember her
name, she tells him, “…Blanche means white…” (54). White is symbolic of
pureness and virgin like qualities, which Blanche wants others to believe, she
has. Blanche is often wearing white through out the play to symbolize how she
wants to appear to others. When Stanley is telling Stella of Blanche’s
promiscuity after losing Belle Reve he says, “This is after the home-place had slipped through her lily white
fingers! She moved to the Flamingo!” (107). Stanley is sarcastic when he refers to her fingers being lily
white, because she presents herself as pure, meanwhile he has found out that
she was having sex with many men in the hotel he names the“Flamingo.” Again, in
the end of the play color is used as a symbol when Blanche discusses the color of her jacket, while
dressing to be unknowingly taken away to the institution, “You're both
mistaken. It's Della Robbia blue. The blue of the robe in the old Madonna
pictures…” (147). Williams ends the play with Blanche wearing the symbolic
color of purity that Christ’s mother is often depicted wearing in paintings. Colors are not only used as symbols of
character traits, they are symbolic of emotion.
Symbolic
meaning of color is used to represent the emotionality of the play. Williams
wrote, “There is a picture of Van Gogh’s of a billiard-parlor at night. The
kitchen now suggests that sort of lurid nocturnal brilliance, the raw colors of
childhood’s spectrum,” (41). Williams set up scene three, the poker night, to
mimic the colors of van Gogh’s famous painting, “The Night CafĂ©, recreating an intense evening, with the use of
primary colors. Primary colors of the childhood spectrum, which he refers to,
are red, green, yellow and blue, raw color, not softened into lighter or darker
hues to produce feelings of mellowness, but color to provoke intense feelings
of emotions on edge. Williams set the stage with colors used in the painting,
with the yellow of the linoleum in the kitchen, the vivid green in the glass
shade and the blue, and red in the men’s shirts. He wrote, “…and they are men
at the peak of their physical manhood, as coarse and direct and powerful as the
primary colors,” (41). He used primary colors symbolically, to represent the
ugliness of life, raw and realistic, which play out in this scene, with
cursing, drinking and the awful blows that Stanley gives to his pregnant wife,
Stella. Conflicts in sexuality are addressed with Stella’s sexual desire for Stanley, allowing her
submissiveness in a dysfunctional, abusive relationship to continue.
Sexuality
contributes to the conflicts that the characters face. When Blanche arrives in New Orleans to visit
her sister she says, “They told me to take a streetcar named Desire, and then
transfer to one called Cemeteries and ride six blocks and get off at--Elysian
Fields,” (3). Her first lines tell of the recurring theme of
doom attached to sexuality and desire for love. When Blanch tells Mitch of her first husband’s suicide she says, “It was because--on the
dance-floor--unable to stop myself--I'd suddenly said--"I saw! I know! You
disgust me..."(103). Williams addressed the feelings of humiliation and
shame attached to homosexuality in the nineteen forties with Blanche Dubois’s
young husband, Allan Grey, who commits suicide after his wife accidently sees
him with his lover. Blanche confesses her guilt to Mitch for having caused this
horrific tragedy. Williams also brought out the homophobic attitude in America
with Stella’s line, “This beautiful and talented young man was a degenerate,”
(110), referring to Allan’s sexual orientation. Blanche explains to Mitch,
“Yes, I had many intimacies with strangers. After the death of
Allan--intimacies with strangers was all I seemed able to fill my empty heart
with.... even, at last, in a seventeen-year-old boy,”(128). This reality
revealed of Blanche’s promiscuity leads to her only hope out of her desperate
situation, to fail.
Tennessee
Williams’ use of symbols and motifs throughout his masterpiece, The Streetcar Named Desire added another dimension to assist the audience in
their understanding of the play. Whether underlying messages were from his own
life or just ideas to give more thought to, have been reasons for people to
interpret the play over time in many ways. Possibly that was his idea, as in
visual art, the interpretation is personal. With the aide of symbols and
motifs, he artistically presented material, especially of the time he wrote the
play, and even of today, that brought awareness to social conscience and the
complexity of the human condition, which cannot be understood without much
thought.
If it were not for the commitment and continuance of fighting of suffragist activists Alice Paul and Lucy Burns where Susan B. Anthony and Elizabeth Cady Stanton left off, American women would not have the right to vote in every state in 1920. The two young woman form the National Woman’s Party (NWP) a more aggressive approach to have the 19th amendment passed at the Federal Government level. A senators’ wife joins the party, and her husband takes her “allowance” away and threatens to take her children as well. Alice Paul chooses selflessly, not to continue a romantic relationship, sacrificing, to stay focused and continue the fight for woman’s oppression in our Patriarchal Society. The NWP continue to picket the Whitehouse during WWI, and it is visually shocking how these women are treated just for wanting to vote in a government that they support. Stones are thrown at them and they are violently hauled off to jail, beaten, and handcuffed with their arms above their heads. The women go on a hunger strike and are force fed so that President Woodrow Wilson does not have a “stinking corpse” on his doorstep during a reelection year. The woman from the NWP demanded freedom from oppression by organizing, marching, picketing and boycotting. Charlotte Perkins Gilman demanded freedom from oppression when she wrote, “The Yellow Wallpaper.”
Gillman wrote of patriarchal oppression in her story of a woman who is patronized by her husband in the Victorian era. The woman longs for societal independence and to express her self by writing. Women of that era were confined to a life of domesticity, which made them anxious and depressed. The woman keeps a journal hidden and writes, “ Personally, I believe that congenial work, with excitement and change, would do me good.” Her husband and her brother are physicians who confine her to a room to rest without stimulus, only yellow wallpaper to look at, which drives her to insanity. In real life Gillman had a nervous condition and was almost driven to insanity by a physician who treated her with “The Rest Cure.” When her piece was published she gave it to her physician, which led to changes in his treatment. Charlotte Perkins Gilman was part of the early women’s movement fighting oppression; not waiting for freedom to be given by her oppressors, because she knew it would never come. She divorced her husband and went on to write “Women and Economics” and “Man-Made World.”