PORTRAYAL OF WOMEN
Blanche and Stella demonstrate two different types of femininity in the play, yet both find
themselves dependent on men. Both Blanche and Stella define themselves in terms of the men in
their lives, and they see relationships with men as the only avenue for happiness and fulfilment.
BLANCHE
Blanche is a fading Southern belle who clings to coquettish trappings, preferring “magic” and the
night to reality and the light of day. She performs a delicate, innocent version of femininity
because she believes that this makes her most attractive to men. Blanche insists that Stella
should attempt to get away from the physically abusive Stanley, but her solution also involves
dependence on men, as she proposes that they contact the Dallas millionaire Shep Huntleigh for
financial assistance. Blanche’s tragic marriage in her youth has led her to seek emotional
fulfilment through relationships with men, and men have taken advantage of her nervous, fragile
state. Even though Blanche’s first marriage ended disastrously, she sees marriage as her only
path. Blanche views Mitch as a refuge and a way to rejuvenate her shattered life. Although
Blanche’s sexual exploits make the other characters perceive her as a shameful, fallen woman,
these same characteristics are seen as conferring strength and power in Stanley.
STELLA
Stella’s femininity is based not on illusions and tricks but on reality. She does not try to hide who
she is nor hide from her present circumstances. Stella’s pregnancy asserts the real, physical,
unmasked nature of her conception of herself as a woman. Stella chooses her physical love for
and dependence on Stanley over Blanche’s schemes. Even though Stanley hits her, she is not in
something she wants to get out of, as she explains to Blanche. Eunice demonstrates a similar,
practical reliance on men, and she convinces Stella that she has made the right decision by
PORTRAYAL OF MEN
Masculinity, particularly in Stanley, is linked to the idea of an aggressive, animal force as well as
desire. His dominance is emphasized frequently throughout, and he asserts dominance
aggressively through loud actions and violence. Even his clothing is forceful: he dresses in bright,
lurid colours. Stanley’s masculinity is deeply connected to the “sub-human.” Williams describes
him as a “richly feathered bird among hens” and a “gaudy seed-bearer.”
Much emphasis is placed on Stanley’s physical body: he is frequently seen with his shirt off;
Stanley asserts his masculinity physically as well as psychologically. Physically, he bellows in a
sort of animal call at Stella. He also forces himself upon Blanche. Psychologically, he investigates
Blanche’s sordid past and brings it into the limelight, airing Blanche’s secrets to affirm his position
as not only the alpha male of the household. Yet although Stanley is aggressively animal in his
male nature, his masculinity also asserts itself in his response to the feminine. He has tender
responses to Stella’s pregnancy; his tone shifts suddenly both when he breaks the news to
Blanche and when Stella tells him that she is in labour. He also breaks down when Stella leaves
him after he hits her.
On the other hand, Mitch is still a masculine force, but does not assert the same kind of physical
Blanche and Stella demonstrate two different types of femininity in the play, yet both find
themselves dependent on men. Both Blanche and Stella define themselves in terms of the men in
their lives, and they see relationships with men as the only avenue for happiness and fulfilment.
BLANCHE
Blanche is a fading Southern belle who clings to coquettish trappings, preferring “magic” and the
night to reality and the light of day. She performs a delicate, innocent version of femininity
because she believes that this makes her most attractive to men. Blanche insists that Stella
should attempt to get away from the physically abusive Stanley, but her solution also involves
dependence on men, as she proposes that they contact the Dallas millionaire Shep Huntleigh for
financial assistance. Blanche’s tragic marriage in her youth has led her to seek emotional
fulfilment through relationships with men, and men have taken advantage of her nervous, fragile
state. Even though Blanche’s first marriage ended disastrously, she sees marriage as her only
path. Blanche views Mitch as a refuge and a way to rejuvenate her shattered life. Although
Blanche’s sexual exploits make the other characters perceive her as a shameful, fallen woman,
these same characteristics are seen as conferring strength and power in Stanley.
STELLA
Stella’s femininity is based not on illusions and tricks but on reality. She does not try to hide who
she is nor hide from her present circumstances. Stella’s pregnancy asserts the real, physical,
unmasked nature of her conception of herself as a woman. Stella chooses her physical love for
and dependence on Stanley over Blanche’s schemes. Even though Stanley hits her, she is not in
something she wants to get out of, as she explains to Blanche. Eunice demonstrates a similar,
practical reliance on men, and she convinces Stella that she has made the right decision by
PORTRAYAL OF MEN
Masculinity, particularly in Stanley, is linked to the idea of an aggressive, animal force as well as
desire. His dominance is emphasized frequently throughout, and he asserts dominance
aggressively through loud actions and violence. Even his clothing is forceful: he dresses in bright,
lurid colours. Stanley’s masculinity is deeply connected to the “sub-human.” Williams describes
him as a “richly feathered bird among hens” and a “gaudy seed-bearer.”
Much emphasis is placed on Stanley’s physical body: he is frequently seen with his shirt off;
Stanley asserts his masculinity physically as well as psychologically. Physically, he bellows in a
sort of animal call at Stella. He also forces himself upon Blanche. Psychologically, he investigates
Blanche’s sordid past and brings it into the limelight, airing Blanche’s secrets to affirm his position
as not only the alpha male of the household. Yet although Stanley is aggressively animal in his
male nature, his masculinity also asserts itself in his response to the feminine. He has tender
responses to Stella’s pregnancy; his tone shifts suddenly both when he breaks the news to
Blanche and when Stella tells him that she is in labour. He also breaks down when Stella leaves
him after he hits her.
On the other hand, Mitch is still a masculine force, but does not assert the same kind of physical
