In his play A Streetcar Named Desire, Williams critiques the idea of marriage as a transactional
arrangement intended to provide financial and emotional stability. Instead, we see through the
character Blanche’s trajectory throughout the play that in reality, marriage tends to breed
instability and lasting emotional damage.
Primarily, Williams critiques 1940s American society’s views that only heterosexual marriages
were acceptable. This is seen in the backstory of Blanche’s previous marriage to Allan Gray; a
gay man. It could be suggested that Allan Gray is a self insert from Williams himself who came
out as homosexual later on. Therefore, Allan’s tragic ending where “he stuck the revolver into
his mouth,” may be a representation of the consequences of society repressing individuals. This
past of Blanche’s haunts her to the present day in the form of the “Varsouviana polka.” Williams’
use of the Plastic Theatre of music manifests this issue as pervading the entire play in the
background, and as inescapable. Moreover, Williams essentially suggests that Blanche’s
marriage to this “young boy” was illegitimate and only occurred because society kept pushing a
heterosexual agenda and would not accept Allan as he is. This leading to the devastating
consequences that it did allows the reader to understand that when left with no choice during
life, individuals will seek liberty in death. Furthermore, their illegitimate marriage haunting
Blanche for years to come draws on Williams’ critique of current American society where fears
of homosexuality remained. Thus, Williams suggests that marriage is not an easy solution, and
the only way to move on is to accept all individuals within society as they are.
Along with the theme of rising fears of homosexuality, Williams portrays the toxic marriage
between Stella and Stanley as a critique against the agenda of hegemonic masculinity. In Poker
Night, Stanley practically abuses a pregnant Stella by hitting her. He “charges after her,” and
according to Blanche, “acts like an animal.” The zoomorphic simile in the stage directions here
and with “ape-like” suggests that Stanley is a “primal” being who does not understand human
compassion. This can be read as an exaggeration from Williams of the fear that true masculinity
was being lost. Therefore, the ridiculised version of Stanley being a physical manifestation of
pure masculine aggression paints him as almost inhuman. The negative effects and abuse of
Stella as a result of this suggests that this marriage is corrupt and degrading. However, one
could also argue that Stella’s victimisation doesn’t entirely degrade Stanley. This is because she
is “thrilled” when Stanley is being violent. Here, Stella can be read not as simply a victim, but
also a part of the society that praises and encourages Stanley’s hegemonic masculine
tendencies. Thus, Williams explores how societal expectations about gender can pervade into
the marital sphere and can cause long-lasting damage.
Marriage is also presented as a bid for financial and emotional security for women. This is
primarily seen with Blanche’s desire to marry Mitch. When questioned by Stella, Blanche admits
that she just “wants to rest” and “breathe quietly again.” For her, love and connection would not
matter in her potential marriage to Mitch; the only thing that would matter is the security he
could offer her, that she would otherwise not have. In this time period, women were not granted
financial independence and would have to rely on their husbands or fathers. This can be seen
with Stanley giving Stella an “allowance” of “ten pounds” which she is very proud of and clings
to. This shows how women were only allowed some modicum of autonomy within marriage,
arrangement intended to provide financial and emotional stability. Instead, we see through the
character Blanche’s trajectory throughout the play that in reality, marriage tends to breed
instability and lasting emotional damage.
Primarily, Williams critiques 1940s American society’s views that only heterosexual marriages
were acceptable. This is seen in the backstory of Blanche’s previous marriage to Allan Gray; a
gay man. It could be suggested that Allan Gray is a self insert from Williams himself who came
out as homosexual later on. Therefore, Allan’s tragic ending where “he stuck the revolver into
his mouth,” may be a representation of the consequences of society repressing individuals. This
past of Blanche’s haunts her to the present day in the form of the “Varsouviana polka.” Williams’
use of the Plastic Theatre of music manifests this issue as pervading the entire play in the
background, and as inescapable. Moreover, Williams essentially suggests that Blanche’s
marriage to this “young boy” was illegitimate and only occurred because society kept pushing a
heterosexual agenda and would not accept Allan as he is. This leading to the devastating
consequences that it did allows the reader to understand that when left with no choice during
life, individuals will seek liberty in death. Furthermore, their illegitimate marriage haunting
Blanche for years to come draws on Williams’ critique of current American society where fears
of homosexuality remained. Thus, Williams suggests that marriage is not an easy solution, and
the only way to move on is to accept all individuals within society as they are.
Along with the theme of rising fears of homosexuality, Williams portrays the toxic marriage
between Stella and Stanley as a critique against the agenda of hegemonic masculinity. In Poker
Night, Stanley practically abuses a pregnant Stella by hitting her. He “charges after her,” and
according to Blanche, “acts like an animal.” The zoomorphic simile in the stage directions here
and with “ape-like” suggests that Stanley is a “primal” being who does not understand human
compassion. This can be read as an exaggeration from Williams of the fear that true masculinity
was being lost. Therefore, the ridiculised version of Stanley being a physical manifestation of
pure masculine aggression paints him as almost inhuman. The negative effects and abuse of
Stella as a result of this suggests that this marriage is corrupt and degrading. However, one
could also argue that Stella’s victimisation doesn’t entirely degrade Stanley. This is because she
is “thrilled” when Stanley is being violent. Here, Stella can be read not as simply a victim, but
also a part of the society that praises and encourages Stanley’s hegemonic masculine
tendencies. Thus, Williams explores how societal expectations about gender can pervade into
the marital sphere and can cause long-lasting damage.
Marriage is also presented as a bid for financial and emotional security for women. This is
primarily seen with Blanche’s desire to marry Mitch. When questioned by Stella, Blanche admits
that she just “wants to rest” and “breathe quietly again.” For her, love and connection would not
matter in her potential marriage to Mitch; the only thing that would matter is the security he
could offer her, that she would otherwise not have. In this time period, women were not granted
financial independence and would have to rely on their husbands or fathers. This can be seen
with Stanley giving Stella an “allowance” of “ten pounds” which she is very proud of and clings
to. This shows how women were only allowed some modicum of autonomy within marriage,
