Present Amanda is a woman caught between the past and the present. Little money is coming in, they live in a run-down apartment, and both of her children are drifting, though in different ways.
Their lives run closely parallel to one another in their respective dramas which have characteristics of Southern Gothic. Williams excellently depicted some of these characteristics in his plays, namely narcissism, neurosis or even insanity. Both Blanche and Amanda reject their present lives and retreat into their own separate worlds of illusion and lies, yet their methods of escape are dissimilar.
Williams portrays this necessary oblivion of two female characters in plays to convey the sense of desolateness and fragility in recognizing reality for Southern Belle. As southern gothic literature, through these delusional characters, author work to point out truths of Southern culture and its moral shortcomings in new modern world.
They are victims of a society that taught them that virtue, attractiveness, and gentility all led to happiness. When tragedy strikes, Blanche and Amanda are unable to adjust to modem society and eventually withdraw into the securities of the past.
For Blanche and Amanda, the South forms an image of youth, love, purity and all of Compare blanche and amanda ideals that have crumbled along with mansions and family fortunes.
The suffering and erosion of the past leave her with incapacity for the present. Since Blanche does not have the happy memories of the past that Amanda does, only sorrow, her retreats are more physical.
Her promiscuity is one way of escaping her loneliness. She also turns to alcohol to find oblivion in the midst of reality.
In the play, Williams excellently depicted a woman who was different from the Old South type of belle; she had a darker side in her with the destructive characteristics. He used this wicked belle to indict the Old South or to describe the New.
Blanche in Streetcar is actually portrayed as a Southern belle who is yet unprepared to live in the new world.
The moment Amanda is seen by Tom and the gentleman caller, there is a startling contrast between the faded woman coming from her dingy kitchen and the young Southern belle she used to be. When her husband deserted her, she found herself faced with an empty and meaningless life.
She then began to fabricate things with which to fill her life and started to live alternately between a world of illusion and a world of reality. This fluctuation between these two worlds is her only defense against the boredom and emptiness of living.
The small fatherless family now lives in the cramped apartment with only a fire escape as an Tom, works in a factory yet dreams of becoming a poet, and the daughter, Laura, is crippled and as mentally fragile as the small glass animals she collects.
Despite their deprived lives, the children cannot really understand what they are missing because they have only known this way of life. For Amanda, the only defense against the restlessness and cruelty of life is the ultimately unsatisfactory retreat into a world of illusion.
Amanda, like Blanche, also seeks deliverance from the present, but she does not rely on sexual promiscuity or alcohol to sustain her illusion as does Blanche.
She strikes out with all her power against her fate by clinging to the past as a shield. Amanda lives in two worlds: She attempts to hold them together but soon realizes that they are both crumbling beneath her fingers.
Her instability is frighteningly apparent in her inability to sustain a relationship between her almost lucid moments of realism and her constant fantasizing. Amanda vacillates between urging Laura to prepare for her many gentlemen callers and warning her that she must get training for a professional career.
They are so lost in the past, whether for security or because of guilt, that their lives in the present are practically nonexistent.
They have built barriers between reality and illusion through their memories of the past, their Southern ideals, and their inability to cope with unpleasant situations. Essentially, neither woman can successfully come to grips with the harshness of reality, and so, they submit to their illusions.
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In these plays, Williams demythologizes the Southern belle figure that embodies such virtues as beauty, passivity, submissiveness, virginity, and asexuality, which proved to be the unstable and destructive property in modern society.
Since his heroines are spurned by men due to their desires, they cannot find happiness until they throw aside the mask of the Southern belle which is solely harmful to them. By depicting their desolateness, Williams tries to argue that society as a whole is at fault because it is us that put these high expectations on people and force people to hide in a world of fallacy and delusions.Stagnant Lives in Streetcar Named Desire and Glass Menagerie The Stagnant Lives of Blanche DuBois and Amanda Wingfield "All of Williams' significant characters are pathetic victims--of time, of their own passions, of immutable circumstance" (Gantz ).
this is now the ARCHIVE site - NEW HOMEPAGE () This is now the ARCHIVE site for the latest please visit the refreshed site. FEBRUARY and before. A Streetcar Named Desire and The Glass Menagerie were two plays in which there was a woman who played a drastic role in life of the other characters; they were Blanche DuBois and Amanda Wingfield/5(3).
Fences, by August Wilson - Should a neglected, discriminated, and misplaced black man living in the mid s possessing a spectacular, yet unfulfilled talent for baseball be satisfied or miserable.
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