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English A-Level > Jan Mock Streetcar and malfi quotes > Flashcards

Jan Mock Streetcar and malfi quotes Flashcards

Quotes, critical quotes and context from the whole of Streetcar and first 3 acts of Malfi

1
Q

Setting secrecy malfi

A
  • ‘dark lantern’- Bosola
  • ‘Sure I did hear a woman shriek’- B
  • ‘nor path nor friendly clue to be my guide’- D
  • ‘Cariola goes behind arras’
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2
Q

Setting secrecy streetcar

A

’ under cover of the trains noise Stanley enters’
‘undershirt and grease stained pants’
‘ she goes round the corner of the building

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3
Q

not to duchess

Setting morality Malfi

A

‘a prince’s court is like a common fountain’
‘flow pure silver drops’- A

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4
Q

Setting morality Streetcar

A

‘back wall transparent’
‘prostitute rolled a drunkard’ ‘struggle’

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5
Q

setting territory Malfi

A

‘lovely squire that carries coal up to her lodgings’
‘lay her general territory to waste’

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6
Q

Setting territory Streetcar

A

‘Get OUT of the bathroom!’
‘singing contrapuntally’

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7
Q

Violence constantly alluded to Malfi

A

‘I would have their bodies burnt in a coal pit’
‘Whose throat must I cut?’ B

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8
Q

Violence constantly alluded to Streetcar

A

‘seizes the atomizer;
‘snatched the letters up’
‘rips off the ribbon’

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9
Q

Violence power and control Malfi

A

‘toss her palace bout her ears’
‘lay her general territory to waste’

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10
Q

Violence power and control Streetcar

A

‘hurls the phone to the floor, dissonant brass and piano as room fades to darkness’
‘tosses radio’

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11
Q

Violence sexuality Malfi

A

‘this was my fathers poinard. do you see?’
‘I loathe to see it grow rusty’

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12
Q

Violence sexuality Streetcar

A

‘maybe he’ll strike you or maybe he’ll grunt and kiss you’
‘we’ve had this date with each other since the beginning’

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13
Q

gender female secrecy as an attack Malfi

A

‘as those that trade in poison keep poison from their children’
‘lovely squire that carries coal up to her lodgings’

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14
Q

stan spying, investigating

gender female secrecy as an attack Streetcar

A

‘under cover of the trains noise Stanley enters’
‘snatched the letters up’
‘rips off the ribbon’

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15
Q

Gender male sexuality as violent Malfi

A

‘this was my fathers poinard. do you see?’
‘toss her palace bout her ears’

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16
Q

Gender male sexuality as violent Streetcar

A

‘we’ve had this date with each other since the beginning!’
‘maybe he’ll strike you, or maybe he’ll grunt and kiss you!’

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17
Q

Gender women as objects Malfi

A

‘this is flesh and blood, sir, not the alabaster kneels’
‘lay her general territory to waste’

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18
Q

Gender women as objects Streetcar

A

‘soft people have got to be seductive, put on soft colours’
‘comes around corner in blowing shirt, stands in potieres in silk bra’

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19
Q

Stagecraft light Malfi

A

‘dark lantern’
‘stains the time past, lights the time to come’

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20
Q

Stagecraft light Streetcar

A

‘seizes paper lantern, tearing it off’
‘lurid reflections’

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21
Q

Stagecraft props Malfi

A

‘kind of pity in mine eye (handkerchief F)
‘vowed never to part with it’- ring D

22
Q

Stagecraft props streetcar

A

‘hangs open with flowery dresses’
‘dragged to the centre of the room’

23
Q

Stagecraft soundscape malfi

A

‘Sure I did hear a woman shriek’- B
‘whos there? what art thou?’

24
Q

Outsiders psychological isolation Malfi

A

‘we bear a rotten and dead body’
‘rails at those things which he wants’

25
Q

Outsiders psychological isolation Streetcar

A

‘I dont listen when you’re morbid!’
‘soft people have got to be seductive, put on soft colours’

26
Q

Outsiders loss of identity Malfi

A

‘inward rust to the soul’
‘I am your creature’

27
Q

Outsiders loss of identity Streetcar

A

‘crumpled white satin gown, scuffed silver heels’
‘whoever you are- I have always depended on the kindness of strangers’-mystery, homosexuality

28
Q

Outsiders disruptors to social class Malfi

A

‘O, good Antonio, I fear I am undone’
‘only court gall’- Ant

gall- defect, black bile humours, malcontent

29
Q

Outsiders disruptors to social class Streetcar

A

‘incongruous to the setting, daintily white suit’
‘what do you think you are? a pair of queens?’

30
Q

Class as a source of power malfi

A

‘I am your creature;
‘this was my fathers poinard. do you see?’

31
Q

Class as a source of power Streetcar

A

‘Meat! (heaves package at her)’
‘I am the king round here so don’t you forget it!’

32
Q

Class mixing as bad Malfi

A

‘purge infected blood, such blood as hers!’- F
‘toss her palace bout her ears’

33
Q

Class mixing as bad Streetcar

A

‘what do you think you are? a pair of queens?’
‘appearance incongruous, daintily’

34
Q

Class female class as delicate Malfi

A

‘Sure I did hear a woman shriek’- B
‘O, good Antonio, I fear I am undone’

35
Q

Class female class as delicate Streetcar

A

‘I pulled you down off them columns!’
‘crumpled white satin gown, scuffed silver heels’

36
Q

Blanche as dangerous criticism

A

‘Blanche is dangerous. She is destructive. Stanley’s got things the way he wants them.’
Elia Kazan, director

37
Q

Masculinity criticism Streetcar

A

‘weak and unadjusted masculinity’ - Costa

38
Q

tragedy Streetcar crit.

A

‘There are no ‘good’ or ‘bad’ people… It is a tragedy- Williams

39
Q

tender Streetcar crit.

A

‘the ravishment of the tender… brutal forces of modern society’- Williams

40
Q

women Malfi crit

A

‘ordinary women, that is precisely her problem.’- Bill Alexander

41
Q

Jacobean secrecy crit Malfi

A

‘privacy seemed a menace to the public well-being’- Orlin

42
Q

malcontents criticism Malfi

A

nashe ‘fake and pretentious identity parasitic on society’

43
Q

Webster criticism Malfi

A

‘tussade laureate’- shaw

44
Q

malfi setting structure criticism

A

‘shadowy morality’- emma smith

45
Q

stanley streetcar race criticism

A

ROBERT REA- racial other

46
Q

Race and music in New Orleans context

A
  • post-war - new immigrants, ‘not quite white’
  • mixing of styles of music- downfall
  • racial mix of african american piano music is upsetting to regressive, xenophobic blanche
47
Q

women in streetcar context

A
  • post-war- position as homemakers changing
  • Southern Belle debutante, plantations
48
Q

Streetcar slavery and monarchy context

A
  • one of the first cities to allow interracial marriage
  • extensive colonialism- lack of power for colonialists- Stan represents the modern pusher of boundaries
49
Q

Malfi James I context

A
  • seen as effeminate and homosexual
  • missing a strong female leader
50
Q

Huey long streetcar context

A
  • populist politician from Louisiana
  • “Share Our Wealth” program, distrust of elitism, working class,

English A-Level (3 decks)

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