Pub #2


Jasson Carbajal 


Professor: 


English 102


02 April, 2024







I couldn't go on believing her story and living with Stanley



Tennessee Williams creates a potent drama in the play “ A Streetcar Named Desire”. This play has such significance to family ties and the loyalty a partner has to their significant other. In the play, the main characters help shape the plot of the play,  as Stella that is a submissive person, lives a comfortable life with her husband Stanley, who is the dominant masculinity, and his darker aspect of masculinity and him being the alpha of his “household” in New Orleans, both characters come across to the concerns of Blanche, Stella sister who had to leave her old life behind and look out for a new beginning. Having Stanley be the dominant of his marriage and Blanche a woman with refined manners and egotistical characteristics, tensions began as she is introduced in this play. After long-kept secrets from her past surface, Blanche's already precarious life begins to fall apart, setting up a dramatic showdown with Stanley. The drama addresses issues of illusion, truth, and disbelief as we come across Stella's perspective as she said,  " I couldn't go on believing her story and live with Stanley" (Stella, Scene 11). This line shows a pivotal scene for Stella as she faces the reality to believe her family or show her loyalty to her husband. It's an intense and visceral experience with long lasting effects.

Tennessee Williams, does a great job trying to portray the way men were depicted in the 1940’s, with the character Standley. As the play shows Standley is blunt, assertive,dominant. For example, "Don't ever talk that way to me! 'Pig—polack—disgusting—vulgar—greasy!' Them kind of words have been on your tongue and your sister's too much around here!" (Stanley, Scene 3). In this example it shows the dominance of Standley over Stella and trying to assert his dominance. Another example of Standley trying to assert with authority is, "I'm the king around here, so don't forget it!" (Stanley, Scene 4). As Standley skepticism grows towards Blanche and her stories it leads to a dark side of masculinity such as the rape scene. 

In the play, A Streetcar Named Desire, Stella faces an inner conflict, where she struggles to decide right from wrong. She finds herself in a difficult situation, where she’s torn between family ties to her sister and her loyalty for her husband. Stella and Blanche’s relationship is complex, Stella struggles to accept the allegations that Blanche presents to her, she’s torn to who to believe, but Blanche and her past mental health issues such as illusion contribute to show how Stella thinks Blanche is fabricating the truth because they serve in her own sense of delusion that Stella doesn’t feed into anymore. As Stella said, " I couldn't go on believing her story and live with Stanley" (Stella, Scene 11). Stella is dependent on Stanley for a number of reasons. As they are attracted to one another on an intimate and physical level, for example “"When he's away for a week I nearly go wild! ... When he's away for a week I nearly go wild! ... When he's away for a week I nearly go wild! ... When he's away for a week I nearly go wild!" (Stella,scene 3).. It could be difficult to shake the intensity and intimacy that this passion creates. Stella may see security and stability in Stanley's partnership. Not only does he give her material support, but he also gives her a sense of stability in a brutal and unpredictable environment. Stella may be afraid to leave Stanley given that she has developed a certain way of life with him. Her intense fear of being alone or of starting again may lead her to decide to remain in a dependent arrangement.

How the play is revealed it mirrors broader societal struggles surrounding power dynamics and problems of confronting abuse and misconduct. In the play many pivotal moments show Standley having to be the abuser as he portrays himself as the king, which allows him to believe he can do anything to anyone, for instance, "We've had this date with each other from the beginning!" (Standley, scene 10), "And we've had it!" (She smashes a bottle on the table and faces him.) The final encounter! (He picks up her inert figure and carries her to the bed.)"(Blanche, scene 10). This correlates with the article, “PL08.1 #METOO movement, systems of power and sexual health and wellbeing: The widening of the #METOO movement”, and in another similar article “Invisible Populations and the #MeToo Movement.”. The #MeToo movement engages and focuses on victims who have suffered from sexual abuse and harassment of individuals as it conveys to issues of power dynamics, gender inequality, and sexual health and well-being. Not only does this movement help others have a voice in their stories, it also contributes to a change to address the root cause of sexual violence in the complexity of social and institutional structures. 

In conclusion, Stella's choice to show his loyalty to Stanley has a significant impact on both the play's terrible conclusion and her relationship with Blanche. Stella ultimately chooses the man she loves over her sister by siding with Stanley, putting her own needs and wants above of her family ties. This decision widens the separation between Stella and Blanche, shattering their bond and ultimately bringing about Blanche's terrible demise. The larger concepts of actuality versus delusion and the conflict between preservation and familial loyalty are brought to light by Stella's decision. Blanche, who clings to her delusions in order to get away from the harsh reality of her life, depicts the reality of illusion throughout the play. On the other hand, Stella reflects the acceptance of reality, determining to embrace her bond with Stanley despite its flaws as she has made an illusion of reality with Standley. 

































Worked Cited 


Carmon, I., & Thurston, R. (2019). PL08.1 #METOO movement, systems of power and sexual health and wellbeing: The widening of the #METOO movement. Sexually Transmitted Infections, 95 doi:https://doi.org/10.1136/sextrans-2019-sti.11


Johnson, Richard Greggory, and Hugo Renderos. “Invisible Populations and the #MeToo Movement.” Public Administration Review, vol. 80, no. 6, Nov. 2020, pp. 1123–26. EBSCOhost, https://hs1.farmingdale.edu:2258/10.1111/puar.13209.



Williams, Tennessee, et al. A Streetcar Named Desire. New Directions, 1980.


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