Streetcar 11 Flashcards

Question

'Her rising voice...'

Answer 1

'Her rising voice penetrates the concentration of the game, Mitch ducks his head lower but Stanley shoves back his chair as if about to rise. Steve places a restraining hand on his arm.' - SD - she breaks the quiet atmosphere - he is ashamed - avoiding it in contrast to Stanley's confrontation - clear support from Steve

Answer 2

'[continuing]: What's happened here? I want an explanation of what's happened here.' - Blanche

Answer 3

'Why are you looking at me like that? Is something wrong with me?' - Blanche - they're treating her like a child ('Hush! Hush! Honey.' - E)

Answer 4

'You look wonderful, Blanche. Don't she look wonderful?' - Blanche

Answer 5

'I understand you are going on a trip.' - E 'Yes, Blanche /is/. She's going on a vacation.' - S 'I'm green with envy.' - E 'Help me, help me get dressed!' - B - manipulation, treating her like a child or frail person - she falls back into the fantasy, rushing to get dressed

Answer 6

'Yes, it will do! I'm anxious to get out of here - this place is a trap!' - Blanche - her disregard for her appearance shows just how desperate she is to leave - 'this place is a trap' is a recurring idea from the past few scenes and contributes to the rising tension - the way Stella and Eunice ignore the comment and instead focus n the colour of Blanche's 'jacket' shows their determination to distract her and their denial of Stanley's true nature

Answer 7

'You're both mistaken. It's Della Robbia blue. The blue of the robe in the old Madonna pictures. Are these grapes washed?' - Blanche - 'old Madonna pictures' associates her with purity and religion (which leads into the cathedral bell comment) - 'washed' links to her luxury and obsession with purity, reflecting her view of herself

Answer 8

'Washed, I said. Are they washed?' - Blanche - she comes across as condescending here, reinforcing the class divide between her and the other characters - '[Being from the 'French Market'] doesn't mean they've been washed.'

Answer 9

'[The cathedral bells chime.] Those cathedral bells - they're the only clean thing in the Quarter.' - Blanche - new, religious, imagery (we've not heard these before - what do they symbolise? Perhaps they are funeral bells representing the end for Blanche?') - another insult on the area and its people

Answer 10

'[whispering]: She's going to walk out before they get here.' - Eunice - again we wonder who 'they' are

Answer 11

'I don't want to pass in front of those men.' - Blanche - contrast to how she stepped into the light last time - 'those men' perhaps shows she doesn't see herself as part of this group

Answer 12

'[Blanche turns weakly, hesitantly about. She lets them push her into a chair.]' - SD - she seems incredibly frail

Answer 13

'I can smell the see air. The rest of my time I'm going to spend on the sea. And when I die, I'm going to die on the sea.' - Blanche - completely retreated to fantasy (defence mechanism) - the sea is where she thinks she's going now

Answer 14

'You know what I shall die of? [She plucks a grape.' I shall die of eating an unwashed grape one day out on the ocean. I will die - with my hand in the hand of some nice-looking ship's doctor, a very young one with a small blonde moustache and a big silver watch.' - Blanche - fixation on the sea and death - this quiet but out-of-the-ordinary death encompasses Blanche's hopes for her end - her real one will be very different - 'very young' doctor contrasts to death, she will still be holding onto her ideals of a man - wants someone to be who she was for the dying

Answer 15

''Poor lady,' they'll say, 'the quinine did her no good. That unwashed grape has transported her soul to heaven.' [The cathedral chimes are heard.]' - Blanche - desire for sympathy

Answer 16

'And I'll be buried at sea sewn up in a clean white sack and dropped overboard - at noon - in the blaze of summer - and into an ocean as blue as [chimes again] my first lover's eyes!' - Blanche - 'clean white sack' represents purity even in death - 'ocean' perhaps links to bathing - her burial is elegant and romanticised with links to her first husband

Answer 17

'A Doctor and a Matron have appeared around the corner of the building and climbed the steps to the porch. The gravity of their profession is exaggerated - the unmistakable aura of the state institution with its cynical detachment.' - SD - we now know what is going to happen to Blanche, she will not get what she is fantasising about - slight link to the 'young' 'ship's doctor' though - the 'state institution' perhaps links to William's sister and his experiences with such institutions

Answer 18

'[Stella presses her fist to her lips.]' - SD

Answer 19

'[tensely]: I wonder if it's for me.' - Blanche - we know it is

Answer 20

'[A whispered colloquy takes place at the door.]' - SD

Answer 21

'[returning, brightly]: Someone is calling for Blanche.' - Eunice - we now know they are lying - perhaps hoping she'll go quietly if they follow the fantasy/southern ideals

Answer 22

'It /is/ for me then! [She looks fearfully from one to the other and then to the portieres. The 'Varsouviana' faintly plays.] Is it the gentleman I was expecting from Dallas?' - Blanche - her hope makes this seem even more emotional and the actions of the others more cruel - once again her past haunts her, she is emotional and mad

Answer 23

'They're waiting in front of the house.' - E 'They! Who's 'they'?' - B 'There's a lady with him.' - E 'I cannot imagine who this 'lady' could be! How is she dressed?' - B

Answer 24

'Just - just a sort of a - plain-tailored outfit.' - E - the lie beings to fall apart

Answer 25

'Possibly she's - [Her voice dies out nervously.]' - B;lanche - it's not following her ideas of how it would

Answer 26

'Must we go through that room?' - Blanche 'How do I look?' - B

Answer 27

'[Blanche moves fearfully to the portieres. Eunice draws them open for her. Blanche goes into the kitchen.]' - SD

Answer 28

'[to the men]: Please don't get up. I'm only passing through.' - Blanche 'The poker players stand awkwardly at the table - all except Mitch who remains seared, looking at the table.' - SD - parallel to scene three where she says the same 'Please don't get up' but they do get up this time - is it a mark of respect or preparation to help force her? Perhaps fear of what is going to happen - 'all except Mitch' distinguishes him from the other men - perhaps he doesn't follow Stanley so blindly anymore, has a different type of masculinity?

Answer 29

'You are not the gentleman I was expecting. [She suddenly gasps and starts back up the steps. She stops by Stella, who stands just outside the door, and speaks in a frightened whisper.] That man isn't Shep Huntleigh.' - Blanche - realisation, seeking help

Answer 30

'The 'Varsouviana' is playing distantly.' - SD

Answer 31

'Stella stares back at Blanche. Eunice is holding Stella's arm. There is a moment of silence - no sound but that of Stanley steadily shuffling the cards.' - SD - no one knows what to do

Answer 32

'Blanche catches her breath again and slips back into the flat. She enters the flat with a peculiar smile, her eyes wide and brilliant.' - SD - possibly trying to process and work out what is happening

Answer 33

'As soon as her sister goes past her, Stella closes her eyes and clenches her hands. Eunice throws her arms comfortingly about her.' - SD

Answer 34

'Blanche stops just inside the door. Mitch keeps staring down at his hands on the table, but the other men look at her curiously.' - SD

Answer 35

'At last she starts around the table towards the bedroom. As she does, Stanley suddenly pushes back his chair and rises as if to block her way. The Matron follows her into the flat.' - SD - Stanley and the Matron are connected, the represent physical threat to Blanche and trigger the 'lurid reflections'

Answer 36

'Lurid reflections appear on the walls in odd, sinuous shapes. The 'Varsouviana' is filtered into weird distortion, accompanied by the cries and noises of the jungle. Blanche seizes the back of a chair as if to defend herself.' - SD - she feels threatened again so the reflections reappear, she is trapped

Answer 37

'[The matron advances on one side, Stanley on the other. Divested of all the softer properties of womanhood, the Matron is a peculiarly sinister figure in her severe dress. Her voice is bold and toneless as a fire-bell.]' - SD - the matron is impersonal, with no womanly features (opposite of Blanche, represents her future perhaps) - very different to the southern ideals of a woman

Answer 38

'[The greeting is echoed and re-echoed by other mysterious voices behind the walls, as if reverberated through a canyon of rock.]' - SD - less and less realistic - continued insight into Blanche's feelings - inhuman, horror tone

Answer 39

'She says that she forgot something.' - Stanley - comes across as mocking and infantilising but un-threatening - he isn't the threat the matron is

Answer 40

'[The echo sounds in threatening whispers.]' - SD

Answer 41

'[retreating in panic]: I don't know you - I don't know you. I want to be - left alone - please!' - Blanche - emotional

Answer 42

'You left nothing here but spilt talcum and the old empty perfume bottles - unless it's the paper lantern you want to take with you. You want the lantern?' - Stanley - how you might talk to a child - when the lantern is removed ('tearing it off the light-bulb'), it is like Blanche was never there, her mark is removed - 'You saw it before I came. Well, look at it now! This room is almost - dainty! I want to keep it that way.' - Blanche, 9

Answer 43

'He crosses to the dressing-table and seizes the paper lantern, tearing it off the light-bulb, and extends it towards her. She cries out as if the lantern was herself.' - SD - no longer any mark of her in the flat, this is the end for blanche

Answer 44

'The Matron steps boldly towards her. She screams and tries to break past the Matron. All the men spring to their feet.' - SD - the men follow stanley's lead ('rises as if to block her')

Answer 45

'Stella runs out to the porch, with Eunice followins to comfort her, simultaneously with the confused voices of the men in the kitchen. Stella rushes into Eunice's embrace on the porch.' - SD

Answer 46

'Oh, my God, Eunice, help me! Don't let them do that to her, don't let them hurt her! Oh, God, oh, please God, don't hurt her! What are they doing to her? What are they doing? [She tries to break from Eunice's arms.]' - Stella - regret? guilt? - clearly cares about her sister - parallels Blanche in the way she tries to break away from Eunice

Answer 47

'No, honey, no, no, honey. Stay here. Don't go back in there. Stay with me and don't look.' - Eunice

Answer 48

'What have I done to my sister? Oh, God, what have I done to my sister?' - Stella - regret, shame, caring

Answer 49

'You done the right thing, the only thing you could do. She couldn't stay here; there wasn't no other place for her to go.' - Eunice

Answer 50

'This is a very bad thing.' - Pablo 'This is no way to do it. She should've been told.' - Steve 'Madre de Dios! Cosa mala, muy, muy, mala!' - Pablo - "mother of God, bad thing, very, very bad" - they disagree with Stanley's methods, recognise the cruelty at least

Answer 51

'[Mitch has started towards the bedroom. Stanley crosses to block him.]' - SD

Answer 52

'[wildly]: You! You done this, all o' your God damn interfering with things you-' - Mitch 'Quit the blubber! [He pushes him aside.]' - Stanley - Stanley is defensive, almost passive, is the real stanley when he doesn't feel threatened? - Mitch seconds the other men who disapprove of what is going on

Answer 53

'I'll kill you! [He lunges and strikes at Stanley.]' - Mitch - initiates the fight, offensive in contrast to Stanley's passive defence - he is clearly emotional and angry

Answer 54

'Mitch collapses at the table, sobbing.' - SD

Answer 55

'During the preceding scene, the Matron catches hold of Blanche's arm and prevents her flight. Blanche turns wildly and scratches at the Matron. The heavy woman pinions her arms. Blanche cries out hoarsely and slips to her knees.' - SD - Blanche has been reduced to nothing, she animalistically defends herself and seems desperate and submissive in the way she 'slips to her knees'

Answer 56

'He takes off his hat and now becomes personalized. The inhuman quality goes. His voice is gentle and reassuring as he crosses to Blanche and crouches in front of her.' - SD - treats her like a person and she responds to it

Answer 57

'As he speaks her name, her terror subsides a little. The lurid reflections fade from the walls, the inhuman cries and noises die out and her own hoarse crying is calmed.' - SD - Blanche's fantasies and ideals are not threatened by the doctor in the same way as they are by the matron, he is personal, respectful and a man - this is why the reflections fade when he takes over

Answer 58

'Miss DuBois.'

Answer 59

'She turns her face to him with desperate pleading. He smiles' - SD

Answer 60

'[faintly]: Ask her to let go of me.' - Blanche - stark change from the explosive noise and energy from a few moments ago

Answer 61

'The Matron releases her. Blanche extends her hands towards the Doctor. He draws her up gently and supports her with his arm and leads her through the portieres.]' - SD - fits the ideal, holding her as if they were going for a walk

Answer 62

'[holding tight to his arm]: Whoever you are - I have always depended on the kindness of strangers.' - Blanche

Answer 63

'The poker players stand back as Blanche and the Doctor cross the kitchen to the front door. She allows him to lead her as if she were blind.' - SD - mixture of respect and fear as if she is a wild animal - put her trust in another man

Answer 64

'As they go out on the porch, Stella cries out her sister's name from where she is crouched a few steps upon the stairs.' - SD

Answer 65

'Blanche walks on without turning, followed by the Doctor and the Matron. They go around the corner of the building.' - SD - composed, dignified, quiet exit - embraced her end - she comes across as high status and humanised rather than animalised as she had been in this scene - good lasting impression - contrasts with Stella's reactions

Answer 66

- antithetical: Blanche 'walks on without turning' whilst Stella 'cries out' and 'sobs with inhuman abandon' - they have almost switched places from the start of the play when blanche was emotional and dramatic and Stella was composed and emotionless

Answer 67

'Eunice descends to Stella and places the child in her arms. It is wrapped in a pale blue blanket. Stella accepts the child, sobbingly.' - SD - almost reinforcing to Stella why she had to do this - 'pale blue blanket' seems to symbolise innocence and youth, this is the new generation of Stanleys and Mitches

Answer 68

'Eunice continues downstairs and enters the kitchen where the men, except for Stanley, are returning silently to their places about the table. Stanley has gone out on the porch and stands at at the foot of the steps looking at Stella.' - SD - back to normal as if nothing happened

Answer 69

'[She sobs with inhuman abandon. There is something luxurious in her complete surrender to crying now that her sister is gone.]'

Answer 70

'[voluptuously, soothingly]: Now, honey. Now, love. Now, now Love. [He kneels beside her and his fingers find the opening of her blouse.] Now, now, love. Now, love...' - Stanley - the sexual pre-Blanche relationship - almost insensitive, perhaps the only way he knows how to comfort

Answer 71

'[voluptuously, soothingly]: Now, honey. Now, love. Now, now Love. [He kneels beside her and his fingers find the opening of her blouse.] Now, now, love. Now, love...' - Stanley - the sexual pre-Blanche relationship - almost insensitive, perhaps the only way he knows how to comfort

Answer 72

'[The luxurious sobbing, the sensual murmur fade away under the swelling music of the 'blue piano' and the muted trumpet.]' - SD - the blue piano overpowering everything else symbolises how Stanley has won

Answer 73

'This gave is a seven-card stud.' - Steve - life will go on - we're left with questions of what happens next (different to traditional tragedy)

Answer 74

For such a dramatic person, this ending is the biggest downfall possible - it's more tragic than if she had just died. Death would have suited her, it would've been what she wanted for the end - like she described earlier in the scene. It is still elegant and quiet though (like she described).