Fifteen Questions on “A Streetcar Named Desire” and “The Duchess of Malfi”
1. To what extent do you agree that “the representation of women challenges
patriarchal assumptions about gender roles” in The Duchess of Malfi and A Streetcar
Named Desire?
2. “The focus on both playwrights is on the destructive power of lust rather than the
beauty of romantic love”. In the light of this statement, explore connections
between The Duchess of Malfi and A Streetcar Named Desire.
3. To what extent do you agree that “the imagery of light and darkness is central to the
playwrights’ concerns” in The Duchess of Malfi and A Streetcar Named Desire?
4. “The real driving force of the characters in both plays is the wish to assert power
over other individuals”. In the light of this statement, explore connections between
The Duchess of Malfi and A Streetcar Named Desire.
5. “There is such an overwhelming focus on madness in both plays that the rational,
sane world appears utterly fragile by the end”. In the light of this statement,
compare and contrast ways in which Webster and Williams explore mental instability
in The Duchess of Malfi and A Streetcar Named Desire.
6. To what extent do you agree that “the attempt to assert masculinity is at the heart
of the tragedy” in The Duchess of Malfi and A Streetcar Named Desire?
7. How far would you agree that Webster and Williams are alike in “focusing on the
unavoidably bleak horror of death” in The Duchess of Malfi and A Streetcar Named
Desire?
8. “The difference between appearance and reality remains at the heart of both plays”.
In the light of this statement, explore connections between The Duchess of Malfi and
A Streetcar Named Desire.
9. How far would you agree that Webster and Williams are alike in “portraying family
as inherently dysfunctional” in The Duchess of Malfi and A Streetcar Named Desire?
10. “The most memorable aspects of the plays are those that involve the exploration of
violence”. Compare and contrast the ways in which Webster and Williams present
violence in The Duchess of Malfi and A Streetcar Named Desire.
11. How far would you agree that Webster and Williams are alike in “exploring the
corruption at the heart of society” in The Duchess of Malfi and A Streetcar Named
Desire?
12. “It is betrayal of others that lies at the centre of both plays”. Compare and contrast
the ways in which Webster and Williams present betrayal in The Duchess of Malfi
and A Streetcar Named Desire.
13. How far would you agree that both The Duchess of Malfi and A Streetcar Named
Desire “are inescapably depressing in their despairing view of humanity”?
14. “Both plays are driven by the need of the characters to fulfil their desires, whatever
the cost”. In the light of this statement, explore how Webster and Williams explore
desire in The Duchess of Malfi and A Streetcar Named Desire.
15. How far would you agree that Webster and Williams are alike in “creating settings
that are crucial in revealing the relationships between the characters” in The
Duchess of Malfi and A Streetcar Named Desire?
1. To what extent do you agree that “the representation of women challenges
patriarchal assumptions about gender roles” in The Duchess of Malfi and A Streetcar
Named Desire?
2. “The focus on both playwrights is on the destructive power of lust rather than the
beauty of romantic love”. In the light of this statement, explore connections
between The Duchess of Malfi and A Streetcar Named Desire.
3. To what extent do you agree that “the imagery of light and darkness is central to the
playwrights’ concerns” in The Duchess of Malfi and A Streetcar Named Desire?
4. “The real driving force of the characters in both plays is the wish to assert power
over other individuals”. In the light of this statement, explore connections between
The Duchess of Malfi and A Streetcar Named Desire.
5. “There is such an overwhelming focus on madness in both plays that the rational,
sane world appears utterly fragile by the end”. In the light of this statement,
compare and contrast ways in which Webster and Williams explore mental instability
in The Duchess of Malfi and A Streetcar Named Desire.
6. To what extent do you agree that “the attempt to assert masculinity is at the heart
of the tragedy” in The Duchess of Malfi and A Streetcar Named Desire?
7. How far would you agree that Webster and Williams are alike in “focusing on the
unavoidably bleak horror of death” in The Duchess of Malfi and A Streetcar Named
Desire?
8. “The difference between appearance and reality remains at the heart of both plays”.
In the light of this statement, explore connections between The Duchess of Malfi and
A Streetcar Named Desire.
9. How far would you agree that Webster and Williams are alike in “portraying family
as inherently dysfunctional” in The Duchess of Malfi and A Streetcar Named Desire?
10. “The most memorable aspects of the plays are those that involve the exploration of
violence”. Compare and contrast the ways in which Webster and Williams present
violence in The Duchess of Malfi and A Streetcar Named Desire.
11. How far would you agree that Webster and Williams are alike in “exploring the
corruption at the heart of society” in The Duchess of Malfi and A Streetcar Named
Desire?
12. “It is betrayal of others that lies at the centre of both plays”. Compare and contrast
the ways in which Webster and Williams present betrayal in The Duchess of Malfi
and A Streetcar Named Desire.
13. How far would you agree that both The Duchess of Malfi and A Streetcar Named
Desire “are inescapably depressing in their despairing view of humanity”?
14. “Both plays are driven by the need of the characters to fulfil their desires, whatever
the cost”. In the light of this statement, explore how Webster and Williams explore
desire in The Duchess of Malfi and A Streetcar Named Desire.
15. How far would you agree that Webster and Williams are alike in “creating settings
that are crucial in revealing the relationships between the characters” in The
Duchess of Malfi and A Streetcar Named Desire?
