Streetcar Named Desire-Scene 8
How Williams’ sets the mood for the scene through stage directions:
Beginning stage directions - “the view through the big windows is fading gradually into a
still-golden dusk. A torch of sunlight blazes on the side of a big water-tank or oil-drum
across the empty lot…”. Here Williams highlights the natural beauty of even somewhere as
grim as New Orleans, but the imagery of sunset is key also - it highlights the tense passage of
time that has worsened the aggression between Stanley and Blanche, as well as perhaps
symbolising the end of something. This could be the end of Blanche’s stay there, or the
fading significance of her facade and what she represents (the Old South). Williams often
uses visual projections to externally present Blanche’s internal life. Imagery of light here is
also significant and is repeated later on in the scene by both Stanley and Blanche.
Significant that the mood at the beginning is established by the stage direction is as being
downbeat and depressing especially because of Mitch's absence "fourth place at the table
which is left vacant"- seems likely to the audience that Mitch has not taken what Stanley
had to say about Blanche well. The isolation is felt severely by Blanche who later remarks
“It’s the first time in my entire experience with men … that I’ve actually been stood up by
anybody!” and tries, but fails, to laugh it off.
Opening stage direction- view of New Orleans. Dusk- light fading. Hope fading too?
Presentation of the ‘dismal birthday supper’- reminds us of the opening of scene 6.
Indicates that things are beginning to unravel and it is becoming increasingly difficult to
maintain positive relationships between characters. The ‘vacant’ seat serves as a symbol for
Blanche’s abandonment.
Blanche’s ‘artificial smile’- trying to maintain façade. This links to the joke- attempts to
lighten the mood even though this is not possible.
When Blanche goes to tell her story ‘The music fades’- mirrors lack of atmosphere at the
table. This is also building up the tension that will arise because of the story and Stanley's
subsequent reaction. Once Stanley has asserted his masculine, physical dominance "the
Negro Entertainers are heard" which could suggest the slight releasing of tension but also
signals a new dimension to the troubles between Blanche, Stanley and Stella.
Tensions between the three characters:
The isolation is felt severely by Blanche who later remarks “It’s the first time in my entire
experience with men … that I’ve actually been stood up by anybody!” and tries, but fails, to
laugh it off.
When Blanche talks of her past dates: ‘I’ve had a good deal of all sorts’- irony- audience and
Stella and Stanley know the truth about Blanche’s promiscuity.
"I don't know any refined enough for your taste" - Stanley is simply refusing to comply in
order to try and upset Blanche. There is a sense that he is mocking Blanche’s ‘upper-class’
background and this reflects the conflict between the two classes which they represent. He
knows his vulgarity bothers her, though it is the hypocrisy of her claiming to be innocent and
pure that bothers him.
Blanche telling a story about "The old maid and the parrot" is another example of her using
make-believe and fantasy to escape from the reality that Mitch has not arrived to celebrate
her birthday. During the story there are a lot of dashes used which emphasises Blanche's
, erratic and hysterical nature. Story is not appreciated by Stanley, he is a realist unlike
Blanche. Stella also protects Blanche from the destruction of her fantasy- a significant
contrast of reaction to Blanche's story in an attempt to distract from harsh reality.
"Blanche throws back her head and laughs."- After telling her "funny" story about the
Parrot and the Preacher, Blanche is the only one who is laughing, and while this joke
essentially represents her desperation to maintain the illusion that everything is alright and
Mitch might be arriving any second, the way she laughs by throwing her head back, carries
with it a slight sign of possible insanity and her constant masking of her true self.
Stella’s ‘ineffectual effort to seem amused’- trying to help maintain the pretence but this is
futile at this stage.
Stanley- ‘spear’, ‘eats with fingers’, ‘grunts’- primitive, animalistic- echoes Scene 4.
“Mr. Kowalski is too busy making a pig of himself to think of anything else!” -Stella tries to
assert some power over Stanley while agreeing with her sister. This is a reversal from the
opening scene where Stella is delighted and laughs when Stanley tosses a piece of meat up
at her. Now she is disgusted and tells him, he needs to "wash up" because of how
"disgustingly greasy" his face and fingers are. This reversal shows the tension that has
escalated as a result of Blanche’s arrival. Stella is defensive of Blanche and critical of Stanley
at this point. During this section, Stella and Blanche are united and share the same opinion
and calling him a ‘’pig’’ links to the two sisters being of a higher economic background. She
tries to establish a sense of power over her husband by commanding him to follow her
instructions. This undermines Stanley's status as the dominant figure in the house which
creates tension between the two, however this time it's a tension between genders not so
much between classes like Stanley and Blanche. The name Stella uses for him as well
highlights her anger, as it lacks the playful affection of “Stan”, which is her usual nickname
for him.
“[He hurls a plate to the floor.] “That’s how I’ll clear the table!” [He seizes her arm.] Don’t
ever talk that way to me!” -Stanley, being the dominant powerful male quickly reasserts
himself against his wife reflecting the stereotypical balance of power in a working class
husband and wife relationship. Through this motif, we see how males use physical acts,
usually of violence and strength, to attempt to declare power and supremacy over the
women. Stanley demonstrates domestic violence and violent, explosive behaviour once
more. "He seizes her arm" and "hurls a plate to the floor" which is ironic because he is
fulfilling the ape-like behaviour that Stella and Blanche are suggesting when he is trying to
say otherwise. Stella submits to Stanley's aggression and is again passive, simply goes to "cry
weakly". This is reinforced when Stanley says: “Remember what Huey Long said - ‘Every
Man is a King!’ And I am the king around here, so don’t forget it!”. The conflict between
men and women is based on this simple structure - that men have the need to be powerful
over women, although some women still want to be equally as powerful yet overruled by
the husband.
The reference to political figure Huey Long, who was charming yet corrupt and held divisive
views. His political slogan is regurgitated by Stanley: “Every man is a King!” highlighting
Stanley’s enthusiasm for the concept of the American Dream, as well as his connection to
somewhat archaic ideas on gender roles in society - he uses the phrase to denote his disgust
with how Stella attempts to stand up to him and gain power in their relationship. It also
highlights his expectation that Stella should be as submissive as possible, and should answer
to him rather than order him around.
Blanche also used pejorative language in previous scenes to refer to Stanley’s ethnicity,
calling him a “Polack”, and here he shows his real anger at how she attempts to assert social
How Williams’ sets the mood for the scene through stage directions:
Beginning stage directions - “the view through the big windows is fading gradually into a
still-golden dusk. A torch of sunlight blazes on the side of a big water-tank or oil-drum
across the empty lot…”. Here Williams highlights the natural beauty of even somewhere as
grim as New Orleans, but the imagery of sunset is key also - it highlights the tense passage of
time that has worsened the aggression between Stanley and Blanche, as well as perhaps
symbolising the end of something. This could be the end of Blanche’s stay there, or the
fading significance of her facade and what she represents (the Old South). Williams often
uses visual projections to externally present Blanche’s internal life. Imagery of light here is
also significant and is repeated later on in the scene by both Stanley and Blanche.
Significant that the mood at the beginning is established by the stage direction is as being
downbeat and depressing especially because of Mitch's absence "fourth place at the table
which is left vacant"- seems likely to the audience that Mitch has not taken what Stanley
had to say about Blanche well. The isolation is felt severely by Blanche who later remarks
“It’s the first time in my entire experience with men … that I’ve actually been stood up by
anybody!” and tries, but fails, to laugh it off.
Opening stage direction- view of New Orleans. Dusk- light fading. Hope fading too?
Presentation of the ‘dismal birthday supper’- reminds us of the opening of scene 6.
Indicates that things are beginning to unravel and it is becoming increasingly difficult to
maintain positive relationships between characters. The ‘vacant’ seat serves as a symbol for
Blanche’s abandonment.
Blanche’s ‘artificial smile’- trying to maintain façade. This links to the joke- attempts to
lighten the mood even though this is not possible.
When Blanche goes to tell her story ‘The music fades’- mirrors lack of atmosphere at the
table. This is also building up the tension that will arise because of the story and Stanley's
subsequent reaction. Once Stanley has asserted his masculine, physical dominance "the
Negro Entertainers are heard" which could suggest the slight releasing of tension but also
signals a new dimension to the troubles between Blanche, Stanley and Stella.
Tensions between the three characters:
The isolation is felt severely by Blanche who later remarks “It’s the first time in my entire
experience with men … that I’ve actually been stood up by anybody!” and tries, but fails, to
laugh it off.
When Blanche talks of her past dates: ‘I’ve had a good deal of all sorts’- irony- audience and
Stella and Stanley know the truth about Blanche’s promiscuity.
"I don't know any refined enough for your taste" - Stanley is simply refusing to comply in
order to try and upset Blanche. There is a sense that he is mocking Blanche’s ‘upper-class’
background and this reflects the conflict between the two classes which they represent. He
knows his vulgarity bothers her, though it is the hypocrisy of her claiming to be innocent and
pure that bothers him.
Blanche telling a story about "The old maid and the parrot" is another example of her using
make-believe and fantasy to escape from the reality that Mitch has not arrived to celebrate
her birthday. During the story there are a lot of dashes used which emphasises Blanche's
, erratic and hysterical nature. Story is not appreciated by Stanley, he is a realist unlike
Blanche. Stella also protects Blanche from the destruction of her fantasy- a significant
contrast of reaction to Blanche's story in an attempt to distract from harsh reality.
"Blanche throws back her head and laughs."- After telling her "funny" story about the
Parrot and the Preacher, Blanche is the only one who is laughing, and while this joke
essentially represents her desperation to maintain the illusion that everything is alright and
Mitch might be arriving any second, the way she laughs by throwing her head back, carries
with it a slight sign of possible insanity and her constant masking of her true self.
Stella’s ‘ineffectual effort to seem amused’- trying to help maintain the pretence but this is
futile at this stage.
Stanley- ‘spear’, ‘eats with fingers’, ‘grunts’- primitive, animalistic- echoes Scene 4.
“Mr. Kowalski is too busy making a pig of himself to think of anything else!” -Stella tries to
assert some power over Stanley while agreeing with her sister. This is a reversal from the
opening scene where Stella is delighted and laughs when Stanley tosses a piece of meat up
at her. Now she is disgusted and tells him, he needs to "wash up" because of how
"disgustingly greasy" his face and fingers are. This reversal shows the tension that has
escalated as a result of Blanche’s arrival. Stella is defensive of Blanche and critical of Stanley
at this point. During this section, Stella and Blanche are united and share the same opinion
and calling him a ‘’pig’’ links to the two sisters being of a higher economic background. She
tries to establish a sense of power over her husband by commanding him to follow her
instructions. This undermines Stanley's status as the dominant figure in the house which
creates tension between the two, however this time it's a tension between genders not so
much between classes like Stanley and Blanche. The name Stella uses for him as well
highlights her anger, as it lacks the playful affection of “Stan”, which is her usual nickname
for him.
“[He hurls a plate to the floor.] “That’s how I’ll clear the table!” [He seizes her arm.] Don’t
ever talk that way to me!” -Stanley, being the dominant powerful male quickly reasserts
himself against his wife reflecting the stereotypical balance of power in a working class
husband and wife relationship. Through this motif, we see how males use physical acts,
usually of violence and strength, to attempt to declare power and supremacy over the
women. Stanley demonstrates domestic violence and violent, explosive behaviour once
more. "He seizes her arm" and "hurls a plate to the floor" which is ironic because he is
fulfilling the ape-like behaviour that Stella and Blanche are suggesting when he is trying to
say otherwise. Stella submits to Stanley's aggression and is again passive, simply goes to "cry
weakly". This is reinforced when Stanley says: “Remember what Huey Long said - ‘Every
Man is a King!’ And I am the king around here, so don’t forget it!”. The conflict between
men and women is based on this simple structure - that men have the need to be powerful
over women, although some women still want to be equally as powerful yet overruled by
the husband.
The reference to political figure Huey Long, who was charming yet corrupt and held divisive
views. His political slogan is regurgitated by Stanley: “Every man is a King!” highlighting
Stanley’s enthusiasm for the concept of the American Dream, as well as his connection to
somewhat archaic ideas on gender roles in society - he uses the phrase to denote his disgust
with how Stella attempts to stand up to him and gain power in their relationship. It also
highlights his expectation that Stella should be as submissive as possible, and should answer
to him rather than order him around.
Blanche also used pejorative language in previous scenes to refer to Stanley’s ethnicity,
calling him a “Polack”, and here he shows his real anger at how she attempts to assert social
