The Ways In Which A Feminist Critic Might Interpret Tennessee Williams’ A Streetcar Named Desire

Explore the ways in which a feminist critic might interpret Tennessee Williams A Streetcar Named Desire, with a particular focus on the female characters.

Since the woman s movement in the 1960 s, feminist literary critics have been interested in the way canonical literature represents women in society. The play A Streetcar Named Desire by Tennessee Williams was first performed in 1949 before the woman s movement , however, feminist critics would look back on it with a particular interest in the representation of American women at the time. Feminist critics would be interested in the extent to which power relations between men and women in the private sphere reflect the balance of power in the public realm and might argue that Stella and Stanley s relationship portrays this. They would also focus on how much significance is given to the female experience and to what extent they are shown as victims of patriarchal oppression. Feminist critics also believe that canonical literature has reinforced gender stereotypes, perpetuating these patriarchal assumptions about the roles of men and women. They might argue that the female characters reinforce gender stereotypes whilst others might argue that they have the potential to defy them but can t because they lack the freedom to do so.

A feminist critic might suggest that the uneven male-female power balance in Stella s private relationship with Stanley is used by Tennessee William to represent the treatment of women in the public sphere in 1940 s America. As Bertens explains, feminists argue that there is a relationship between sex and power in which the distribution of power over the male and female partners mirrors the distribution of power over males and females in society at large[1] . This uneven power balance is demonstrated when the audience is first introduced to Stella, who asks Stanley before he goes bowling, Can I come watch? Stella has to ask for his permission here demonstrating that Stanley is the power holder. Stanley is also somewhat patronising to Stella referring to her as the little woman instead of her actual name and so is objectifying and diminishing her. The relationship between Eunice and Steve is used by Tennessee Williams in order to act as a parallel to Stella and Stanley s. When Eunice and Steve are arguing Steve ends it by asking you want it in the papers? This shows how he too is more in power as ultimately Eunice is silenced by him supporting Berten s claim that the private and the public cannot be seen as wholly separate[2] and are intimately linked[3] . Tennessee Williams has possibly used Eunice and Steve to show that this was happening in the public realm. A feminist critic might also argue that Blanche and Stella both need a man in order to survive. Stella explains how she can hardly stand it when [Stanley] is away for a night when he comes back [she] cries on his lap like a baby This demonstrates how dependent she is on her husband and the ellipses further emphasises her sadness simply at the thought of him being away. When Stanley reveals to Stella that Mitch will no longer marry Blanche she asks, what will she do! The exclamation mark emphasises how serious it is that Blanche no longer has a potential husband. Blanche believes that Shep Huntleigh can set [her and Stella] up in a shop! This shows that ultimately, women need to rely on man to help them succeed. A feminist critic could interpret the play as demonstrating Tennessee William s view that the mechanisms of patriarchy in American society in the 1940 s made it difficult for women to survive independently.

A feminist critic might argue that the female characters are victims of patriarchal oppression. Traditionally, writers have depicted male characters as denigrating, exploitive, and repressive in their relations with women[4] which is shown by Williams descri ption of Stanley being a gaudy seed-bearer who sizes up women at a glance , showing that he is dominant and oppressive to women. Stella attempts to defy her patriarchal husband by ordering Stanley, you come out with me while Blanche is getting dressed. The imperative shows how she is trying to gain power over Stanley, however, her attempts at assertion fail when he states that he is going to stay here and ultimately silences Stella. There is another similar situation where Stella demands that Stanley had better give [her] some money. A feminist critic could interpret this as Stella going against the patriarchal assumption that women are timid[5] . However, it could be interpreted as emphasising the divide between men and women in society as it shows that Stanley is in control over the money and it is him who earns the money, not Stella. Stanley is also physically dominant over Stella, as shown when he strikes her which is conveyed by the stage directions there is the sound of a blow . Such domestic violence would be seen by a feminist critic in the 1970 s as indicating Stella is a victim of 1940 s patriarchal oppression. Steve also hits Eunice and she cries you hit me! I m gonna call the police! Tennessee Williams is using their relationship as a parallel to Stanley and Stella s to show that this patriarchal oppression is happening everywhere. A feminist critic might argue that this reflects the power-balance that Williams witnessed between his own parents. Stanley and Steve are shown negatively and this unsympathetic depiction of their brutality could suggest that he feels uncomfortable about it.

A feminist critic might argue that the female characters in the text reinforce gender stereotypes. Deriving their thinking from the women s movement of the 1960s, feminist critics argue that the stereotypes of women are culturally constructed[6] and these differences are not because of biology[7] , suggesting women are not innately dependent, irrational and self-pitying as much canonical literature implies. A feminist critic might argue that Stella adheres to this stereotype. When Stanley tries to explain to Stella the Napoleonic code she says that her head is swimming! Stereotypically, masculinity has connotations of rationality[8] , whereas, women are thought to be less rational. Stella s failure to understand what Stanley is saying reinforces this idea. Stella also explains that on their wedding night he smashed all the light-bulbs with the heel of [her] slipper! The exclamation mark along with the stage directions she laughs shows that she is sort of thrilled by it. A feminist critic might argue that by accepting Stanley s behaviour she does not try to defy the gender stereotypes of being helpless[9] and dependent[10] and instead accepts them. However, it could be argued that she is not as weak as she first appears and may actually have the potential to go against this stereotype by having some typically masculine traits. Stanley gives a loud whack on [Stella s] thigh which she says is not fun , rejecting his advances. She delivers the line sharply which could suggest masculinity, with its connotations of strength . Blanche is equally open to interpretation. She could be seen to adhere to the socially constructed female stereotype of the immoral and dangerous seductress as she admits to having many intimacies with strangers . Stanley further emphasises this by saying Sister Blanche is no lily! Ha-ha! Some lily she is! referring to her as Sister has a double meaning as she is Stella s sister but he is also mocking her suggesting that she is a nun. A lily represents purity this metaphor might demonstrate that Blanche is far from pure, as the audience might have expected women to be during this time. However, Blanche also displays some typically masculine traits such as her drinking habits. Blanche pours a half tumbler of whiskey and tosses it down the stage directions conveying confidence and urgency. Blanche has to carefully replace the bottle as social conventions dictate that she needs to hide what she has done.

Feminist critics might, then, argue that Tennessee Williams play seems to present the impact upon women of patriarchy very negatively, depicting them as victims of social conventions over which they have no control. Feminist critics aim to revalue women s experience[11] and would certainly note how much of the play s focus is on Blanche s life and her experiences. Blanche can be viewed as the tragic heroine, for whom the audience feels sympathy. The recurring Varsouviana polka music is used to immerse us in her declining mental stability It is associated with the music that was playing on the night that her husband died and the sound of it in her head torments her, thus evoking sympathy from the audience. In the final scene the "Varsouviana" is filtered into a weird distortion, accompanied by the cries and noises of the jungle showing the chaos in Blanche s mind and the disintegration of her emotional state which engages the audience. Blanche also compares the blue outfit she is wearing to the robe in the old Madonna pictures , thus elevating her to the tragic heroine of the play. By presenting Blanche in this way, Tennessee Williams is valuing her experience and showing sympathy towards women of this time. A feminist critic might, then, suggest that, unlike most canonical literature, women have been presented positively in A Streetcar Named Desire whereas the men have been presented negatively. Ultimately women can be seen as victims of patriarchal society s constraints, which would have been much more pronounced in the 1940 s than the 1960 s when the women s movement happened. Feminist critics would be fascinated and moved by Tennessee Williams depiction of how much more constrained women were when the play was written.

Word count: 1520

Bibliography:

A Streetcar Named Desire, Tennessee Williams

[1] Bertens, H. (2001) Literary Theory: The Basics, pp 94-9), Abingdon: Routledge

[2] Ibid

[3] Ibid

[4] Bertens, H. (2001) Literary Theory: The Basics, pp 94-9), Abingdon: Routledge

[5] Ibid

[6] Ibid

[7] Barry, P (2002) Beginning Theory, p. 134, Manchester University Press

[8] Bertens, H. (2001) Literary Theory: The Basics, pp 94-9), Abingdon: Routledge

[9] Bertens, H. (2001) Literary Theory: The Basics, pp 94-9), Abingdon: Routledge

[10] Ibid

[11] Barry, P (2002) Beginning Theory, p. 134, Manchester University Press