" This conveys the extent of which Paul loves his mother as he cannot see her effectively jeopardizing his relationship. In terms of imagery, "warm"" is also used in Chapter Seven to describe Miriam: "very beautiful, with her warm coloring"." Due to it being used to portray a positive attribute in each character it could suggest that Paul views his mother in the same way as he views Miriam which hints at the oedipal theme that is present in both "Hamlet" and "Sons & Lovers." Mrs. Morel also imposes upon Paul's relationship with Miriam. Gertrude constantly tells Paul how "common" Miriam is, and waits up late for him, like his wife, when he stays out late with Miriam, trying to make him feel guilty. Paul even realizes at the end of the novel that his mother has been the root of his failed relationships, and he asserts that "I shall never meet the right woman while you live.".
The disjointed nature of familial relationships, as shown in the other two texts, has an equal presence in Williams' "Streetcar." In Scene Five, Williams creates tension between the two sisters; in Blanches interrogation of Stella concerning the gossip about her, " there is clear panic in Blanche's voice, acting as if she has something to hide. The defensive tone immediately creates the effect that there is a clear element of dishonesty and distrust between the sisters which furthers the idea that their relationship is disjointed and flawed. Exclamation in Blanche's speech only reinforces her heavy conscience, creating mystery and displays the lack of communication and trust in their relationship: "Stella! What have you heard about me?." Stella's calm non-verbal reply, "huh?", " indicates she knows nothing about the subject. Despite the suspicion presented Blanche's character; Williams hints at the fact she may be hiding something from her sister. This indirectly affects Blanche and Stella's familial relationship as Stella can sense something is odd about her sister, but is not trusted enough by Blanche.
Tennesee Williams' Use Of Stage Effects And How They Change A Streetcar Named Desire Tennessee Williams' A Streetcar Named Desire is mastery of the use of lighting, setting, and sound to add to emotion and meaning to a play. ... It seems that the minor details of music, sound effects, lighting, and setting were actually some of the most important points of A Streetcar Named Desire. ...
Williams' "A Streetcar Named Desire- and Ibsen's "A Doll's House-: Dramatic Conflict in the Male/Female Relationship In any narrative, the development of the plot and the creation of compelling characters depends on a single literary element: the presence of conflict. ... It is the masterful portrayal of this age-old conflict between the sexes that serves as the dramatic centerpiece in both Tennessee Williams' "A Streetcar Named Desire- and Henrik Ibsen's "A Doll's House."" ... The conflict in the play is subtle and drawn out rather than explosive as in "A...
The plays Antigone, Hamlet, and A Streetcar Named Desire use at least some of these qualities. ... In the play, A Streetcar Named Desire, there are no characters of royalty. ... In A Streetcar Named Desire, there is no constant reference to God or fate. ... In A Streetcar Named Desire the tragic hero is Blanche. ... The catharsis in A Streetcar Named Desire is the downfall of Blanche. ...
That play was A Streetcar Named Desire. ... It is no surprise that Williams again turned to Mielziner to design A Streetcar Named Desire. ... Thanks in large part to A Streetcar Named Desire, the duo of Mielziner and Williams helped to change theatre. ... At the time of A Streetcar Named Desire, "it was more like an accusation" (Murphy 1). ... When it came to A Streetcar Named Desire, Kazan's collaboration did not come cheap. ...
In A Streetcar Named Desire the part that Tennessee Williams' life plays in the text is fairly large. ... His father withdrew him from university to work at the International Shoe Company, where he met Stanley Kowalski, who Tennessee Williams' has plastered all over A Streetcar Named Desire. ... Quoting A Streetcar Named Desire: The Playwright (http://hipp.gator.net/scarplaywright.html): 'He was noted for bringing to his audiences a slice of his own life and the feel of the southern culture. ... A personal interest/experience in the themes/issues and characters would not have...
The purest language of plays" - just by studying 'A streetcar named Desire" the reader can identity the numerous symbols Williams' uses to add depth to the plot as well as unveil his characters' personalities, strengths and weaknesses. ... Light, animal characteristics, music and the streetcars Desire and Cemeteries are symbols that Kazan puts emphasis on in the film just as Williams does in the play to lead up to the climax of Blanche's disintegration into insanity and Stanley's brutal triumph over her. ... "They told me to take a streetcar named Desire and then tr...
Lawrence's classic novel Son's and Lovers, the character of Paul Morel is developed through his relationships with three women, Gertrude, his mother, and his two loves Miriam and Clara. ... It is no coincidence that Gertrude shares the same name as Hamlet's Queen Gertrude, for both women share the mother's possessive role of the Oedipal complex. ... At times Paul and Gertrude's closeness is almost like that of a couple, for example while the mother and son dine in town together, Paul thinks of her as "gay as a sweetheart", and feels the "excitement of lovers". ... A...
Tennessee Williams A Streetcar Named Desire- Tennesse Williams is known as one of the greatest American playwrights. ... Among his most notable and successful plays were "The Glass Menagerie-, which he refers to as "memory play-, "A Streetcar Named Desire-, "The Rose Tatoo- and "Cat on a Hot Tin Roof- for which he was appreciated winning the Pulitzer Prize. ... "Streetcar Named Desire- which was firstly entitled "The Poker Night- emerged right after the theatrical success of "The Glass Menagerie- when the authour learned to play poker game. ... The moment Blanche appea...
