A full, in-depth A* essay plan exploring the theme of masculinity in Tennessee Williams' play, "A Streetcar Named Desire", for the Pearson Edexcel A-Level English Literature.
masculinity
Introduction
o Critics argue the set is a physical and metaphorical battleground between Blanche
and Stanley: a violent, unparalleled figure of toxic masculinity versus childish
obliviousness to reality = clash
o Omnipresence of masculinity expressed through violence - somewhat oxymoronic
concept as “Elysian Fields” derives from “elysium”, symbolising “paradise” in Greek
mythology – omnipresent masculine aggression in paradise leads audience to wonder
if paradise exists after all
Mitch and Blanche’s relationship – role reversal challenges masculinity
o Initially challenges gender stereotypes with role reversal with Blanche
o “I got a sick mother. She don’t go to sleep until I come home at night” – sensitive side
challenges masculine stereotypes (is not a “wolf”)
o Separates Mitch from sea of masculine animalistic men in New Orleans
o "Why do you always ask?", “take off your coat”, “sit down” - tells off Mitch for asking
before he acts but then uses imperatives (complete role reversal where man should
dominate)
Mitch appealing to Old South ideas of masculinity rather than toxic masculinity
of New South
o “bunch of roses”, “gentleman”, “[she] needs somebody, and [he] needs somebody
too”, “is going to have a baby!”) Mitch gives Blanche flowers and she calls him a
gentleman - traditionally romantic actions contrast New South masculinity, tries to
appeal to Blanche’s past through traditional ideas of gentlemanly behaviour
o “Hello [he stares at her]” – civilised greeting dichotomous to Stanley’s colloquiality
(also a stare of admiration rather than sexual desire – appreciates her class in a way
that nobody else does)
o “I guess it must be pretty late - and you're tired”, Mitch doesn't want to sleep with
Blanche; shows signs of being gentlemanly by masking his desire, gentlemanly OS
masculinity
Eventual return to New South masculinity
o “and that’s a fact!”, “tears” the lantern, “grunts”, “stalks”, Mitch’s curt, factual
speech starts to mirror that of S’s – likewise, his predatory, animalistic movements
imply he is in fact “a wolf” like B suspected, eventual return into New South
masculinity shows triumph of new America
o Portrait of Mae West “upside down” - figure of sexual independence. However it is
'upside down', suggesting that although he appears gentlemanly, he is, in reality, as
animalistic as S, W implies that ultimately, all men are filled with sexual desire –
triumph of NS over OS
Role of Women (male dominance, female submission) emphasised through
masculinity
o Stella and Stanley’s relationship is societal microcosm of submissive women and New
South masculinity - objectification and infantilization of women
o “little woman”, “baby”, condescending, makes Stella submissive and passive, forcing
her into her gender role reinforcing masculine dominance
o 'pleasure with women, the giving and taking of it' – women’s role as sexual objects
o The men wear 'coloured shirts' when returning from the pub, which contrasts with the
women's white clothes - the men are the dominant, bold and striking characters while
the women remain passive. Shows traditional gender roles and the position of women
in New Orleans
Violent, animalistic masculinity through Stella and Stanley
o Toxic masculinity expressed through violence and dominance over women
o “meat”, “heaving” bag of meat while shouting the imperative “catch” at pregnant
wife - bringing home “meat” = primitive hunter-gatherer, reinforcing predatory
instincts
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