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Tragedy conventions in Streetcar ! (Phonetics (Phonetics is a branch of…

- - - - Stella, watch out, he's-- [Stanley charges after Stella.]
        men [feebly]: Take it easy, Stanley. Easy, fellow.--Let's all--
        STELLA: You lay your hands on me and I'll-- [She backs out of sight. He advances and disappears.
        There is the sound of a blow. Stella cries out. Blanche screams and runs into the kitchen. The men rush forward and there is grappling and cursing. Something is overturned with a crash.]
- - - - Both Stanley and Blanche drink excessively at various points during the play. Stanley’s drinking is social: he drinks with his friends at the bar, during their poker games, and to celebrate the birth of his child.
      - Blanche’s drinking, on the other hand, is anti-social, and she tries to keep it a secret. She drinks on the sly in order to withdraw from harsh reality. A state of drunken stupor enables her to take a flight of imagination, such as concocting a getaway with Shep Huntleigh.
      - For both characters, drinking leads to destructive behavior: Stanley commits domestic violence, and Blanche deludes herself. Yet Stanley is able to rebound from his drunken escapades, whereas alcohol augments Blanche’s gradual departure from sanity.
- - - - Taken from Scene Seven, this declarative sentence referring to Blanche is ambiguous due to the material verb, "mapped". Stanley leads the audience to believe that Blanche's future is planned and organised when in reality Blanche's future is very uncertain. However, this is an explicit reference to the bus ticket he buys her as a birthday present which we discover later in the scene. This shows how manipulating Stanley is as a character both directly and, in this case, indirectly because he has determined Blanche's future for her. In context to when the play was set, this could be seen as New America (symbolised by Stanley) dominating over Old America (symbolised by Blanche).
    - - This declarative sentence is similarly taken from Scene Seven. Stanley purposely uses the contraction, "wouldn't" along with the relational verb, "be" to express ambiguity. He knows that Mitch won't be attending Blanche's birthday meal yet is misleading with his responses to Stella. He does this intentionally to discreetly assert his power and dominance so that Stella feels ruled-over and helpless towards her sister.
- - - - Stanley realizes earlier on in the play that there is something up whit Blanche. He never believed her, not once throughout the whole play.
    - - Blanche realises some of the truth; that she has been deceived by her sister, ignoring of Stella as she is escorted away, “what have I done to my sister”
    - - Stella realises that she cannot believe the truth or her marriage cannot go on
- - - - Blanche's hamartia is established quickly within the play in Scene One. The stage directions allude to Blanche's fragility because she is likened to the concrete noun of a "moth". The main metaphorical imagery that surrounds the notion of the moth is that such creature is sensitive to light, yet also attracted to it. Blanche reflects this and tries to avoid light because it reveals her age and withering beauty but she can't escape it and eventually is confronted by this flaw in Scene Nine when Mitch forces the light upon her. Also, the delicacy of the moth can be seen through Blanche's mental state. A moth's fluttering wings is symbolic of Blanche's rapid fluctuating emotions. This fatal flaw leads to Blanche's tragic downfall.
- - - - BLANCHE: Scene six
        "[He was a boy, when I was a very young girl When I was sixteen I made the discovery-love. All at once and much, much too completely]"
        Blanche is suggesting she was naive due to her age as she is inexperienced with love, as implied through the abstract noun ‘discovery’. She is also emphasising her age, which suggests she is trying to appear innocent and pure towards Mitch.
        "[There was something different about that boy, a nervousness, a softness and tenderness which wasn’t like a man’s although he wasn’t the least bit effeminate-looking- still- that thing was there… He came to me for help.]"
        Due to her husband being homosexual Blanche doesn’t appear concerned by his actions. ‘He came to me for help’ suggests she is accepting off him however at that time it was not accepted in society.
- - - - STANLEY Scene 2: "There is such thing in this State of Louisiana as the Napoleonic code, according to which whatever belongs to my wife is also mine- vice versa."
        Stanley mentions the Napoleonic code several times in scene 2 to ensure he gets his point across as this is something he strongly believes in.
        For example: "In the state of Louisiana we have the Napoleonic code according to which what belongs to the wife belongs to the husband and vice versa." In fact, Stanley is so persistent on this idea, he mentions it again after Stella has just replied to him.: "All right. I'll wait til she gets through soaking in a hot tub and then i'll inquire is she is acquainted with the Napoleonic code."
        "you see, under the Napoleonic code - a man has to take an interest in his wife's affairs- especially now that she's going to have a baby."
        Scene 10: "I've been on to you from the start! Not once did you pull any wool over this boy's eyes!" "...I say - Ha-Ha! Do you hear me? Ha-ha-ha! [he walks into the bedroom"-
        at this point Stanley has clarified to not only Blanche,but the audience that he was correct all along. Even though his wife and the audience doubted him, he always stayed confident that he was never wrong. He gathered more and more evidence throughput the play to confirm this.