Throughout A Streetcar Named Desire, the style with which Tennessee Williams crafts his work and moulds the intricacies and imaginings of his mind onto the page is intrinsic to the way in which we, as the reader, interpret the play. Scene 10 is the endgame of the underlying tension that sticks to the bitter relationship forged by our two main characters, Stanley and Blanche. Williams employs several linguistic and dramatic techniques to convey this tension, using his protagonist and antagonist as vehicles to epitomise the frustration of a generation trapped in the abyss between conventional gentry and contemporary materialism.
One key technique that Williams utilises to great effect is the depiction of the tragic hero. Throughout the book, Blanche is portrayed as arrogant and vain but, as the play unravels, these traits are seen to be a product of a lifetime of insecurity and calamity. This scarred past fits the happen of the tragic hero and this is finalised in the last three pages of Scene 10, where Blanche’s illusion of grace and feigned innocence is shattered. This is shown by Blanche’s gradual realization of her impending fate, eliciting signs of distress especially when she is on the phone to Western Union. ‘Caught in a trap’ shows that Blanche, although outwardly ignorant to the very end, sub-consciously realizes the end is nigh and is attempting to escape although we, as readers, know that her initiation into the world which Stanley belongs in is inevitable and her endeavours to flee are futile. The hubris of Greek tragedy - the humiliation of an arrogant person - is curiously reversed here, as the vain, self-deluded Blanche acquires tragic stature after her downfall. Stanley's love-making to Stella provides an ironic coda: she had bartered her sister for sexual gratification, and the bargain is now completed.
Another technique is dramatic irony.... [continues]
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