Compare the ways in which Plath and Williams portrays the suff ering

of women in the Streetcar Named Desire and “Collected Poems”.

Both Williams’ and Plath’s literary works explore the suffering of women due to societal expectation
alongside becoming victims to patriarchy. Whereas Plath’s female personas can eventually escape
the suffering forced upon them, Blanche still looks for the validation of society and, therefore, is
destroyed. The environment portrayed in both texts is in parallel to the patriarchal American society
experienced by both Plath and Williams. Plath used the constraints she experienced as a woman as
her muse with her poetry dealing with issues like mental health, societal expectations and
patriarchy. In contrast, Williams depicts the struggle between the old America and new America,
within this period witnessing the changing role of women. This is presented through Blanche
representing a southern belle from the past being contrasted with the future women which is
represented through Stella. Williams and Plath both use their experiences to challenge society’s
treatment of women through their literature.

In both texts, the female characters suffer by attempting to fulfil societal expectations. Within A
Streetcar Named Desire, it would not be bold to suggest that Blanche suffers from gerascophobia
(phobia of ageing) that stems from her no longer reaching the societal expectations of beauty due to
her increasing age. Additionally, in 1940s society, it was expected for women to be married and
since Blanche did not meet this criteria with her increasing age, she began manipulating men. This is
evident in Scene two, in which Blanche is seen basing her self-worth upon the “admiration” of men.
The aim of these societal expectations was to construct women that were appealing to the male eye,
resulting in women like Blanche meeting these expectations through lying, presented through
Blanche lying about Stella being “older". Plath similarly explores unrealistic beauty standards within
her poem “In Plaster” in which she is not able to achieve the “face of a pharaoh", a standard of
beauty existing thousands of years prior to Plath's existence. Plath is commenting on how societal
expectations have affected women for centuries. Progressing through the poem, one witnesses the
female persona descending into madness as her insecurity turns into frustration as she looks at her
reflection with “tears and agitation of the hands”. Williams, too, portrays the same effect on mental
health when Blanche’s “mirror…cracks”. This is symbolic of Blanche mentally being broken through
societal expectations as she longer meets its beauty expectations. The idea of women having to put
on a façade in order to deal with the societal expectation put upon them is presented in both pieces
of literature. Unlike men during this century, if women were to break any societal norms it would
remain with them in the future. During the play, Blanche's baths are symbolic of her attempts to
wash away her past. A past in which she was a victim as it is assumed that Blanche had to become a
prostitute in order to “pay for...one-night shelter”. However, the viewer witnesses through Blanche’s
use of “Kleenex” and “writing equipment”, which is used to symbolise that society will not let
Blanche rewrite her story. When Blanche broke societal expectations, society had already written
Blanche’s fate for her. Likewise, Plath portrays her female persona within Mirror having to put up a
façade in order to be accepted by society. Plath’s “white” external is a representation of her
portraying a pure version of herself to society, whereas, Plath describes herself internally being
“yellow”, a colour with the connotations of madness. Plath is made to hide this “madness” in order
to be accepted society. Stella, within Scene 8, can acknowledge this as she confronts Stanley by
blaming him for Blanche’s fate: “people like you abused her and forced her to change”, suggesting
how societal expectations ultimately results in women suffering. In contrast, one witnesses that
within Plath’s life she was able to break the society norms through divorce and then use her divorce
as a muse in her poetry. However, Stella is unable to leave Stanley, even when she becomes aware
of the rape, since Stella as a women is expected to maintain her marriage. However, the 11951 A
Streetcar Named Desire film substitutes an ending in which Stella defy societies norms by leaving
Stanley. Although this interpretation is rather optimistic, it does not portray the cyclical cycle of
women suffering due to their efforts in fulfilling societal expectations.

In both pieces of literature, women are presented to be suffering due to overpowering male
dominance caused by patriarchy. Within A Streetcar Named Desire Stanley is symbolic of the
emerging toxic masculinity in society following World War 2. In the play Stella is often the victim of
Stanley’s dominance. Stanley and Stella’s relationship is summarised by Williams from the initial
start when Stanley “heaves package” at Stella, although she “cries out” but eventually accepts it.
This is a metaphor for Stanley’s forceful nature towards Stella within their relationship, but Stella
inevitably submits to Stanley’s toxic masculinity/animalistic nature, as she is addicted to the thrill
provided through Stanley’s nature. Likewise, Plath in ‘Spinster’ experiences the overpowering male
dominance as her “lovers gestures unbalance air”. It would not be bold to infer that Plath is
referencing her marriage in which she experienced more chaos than peace but, unlike Stella, Plath
was able to escape the chaos of her significant other. 2Carole Stone proclaims that Plath within her
marriage expected a “a husband-mentor", but Plath soon became over dominated within her
marriage and was forced to lead a role as a homemaker which she despised. Within the rape scene
Williams uses plastic theatre to create “inhumane voice” in order to convey Stanley’s animalistic
qualities. Stanley within this scene is the cause of Blanche’s metaphorical death; not only is Williams
suggesting that society allows men to destroy women but also how women can be treated as lesser
humans. One can assume Williams’s portrayal of toxic masculinity was fuelled by his father’s abusive
nature towards his mother. Similarly, a significant cause for Plath's suicide was her husband who is
often depicted in her poetry as emotionally abusive. Within “Lady Lazarus” the female persona
identifies herself as a Jewish victim who suffered male brutality, ergo, implying that women become
victims to the violent nature of some men that is approved by patriarchy. Lastly, Williams implies
that women suffer for men in order to gain validation . This is significantly reflected through Stanley
who feels threatened by Blanche’s power as he views Blanche as a queen invading the house in
which he is the ‘king”. Williams argues this issue is generational as Blanche losses her status due to
her “fathers and uncles” exchanging land for “epic fornications”, demonstrating how men leave
women in weak positions due to their mistakes but the women (i.e., Blanche) are blamed instead.

The suffering of women’s mental health is a prominent focus in both Plath's and Williams’s works.
Both writers explore women suffering from trauma who eventually choose a life of delusion to avoid
the reality within their lives. In A Streetcar Named Desire Blanche’s delusion is at the core of the
play, which is often demonstrated through Williams use of plastic theatre which allows the viewer
experience Blanche’s emotions. However, Blanche acknowledges her manipulation of the truth
when she says “I don’t want realism... I want magic” suggesting that she understands she is not able
to bare the reality and, therefore, uses lies as a coping mechanism. Ergo, during the 3Young Vic
production, Blanche is seen using fashion to manipulate reality, this is seen in Scene 10 when
Blanche is dressed like a southern belle yet in reality her mental health is at an all-time low.
Similarly, within Plath’s poem “Mirror” the persona in the poem uses the girl as a coping mechanism

1
A Streetcar Named Desire, 1951, Directed by Eliza Kazan: Warner Bros

2
Stone, C. (1990). The Poet as Wife: Sylvia Plath’s Marriage Poems. CEA Critic, 52(3),87-95. Retrieved October
28, 2020, from http://www.jstor.org/stable/44377057

3
A Streetcar Named Desire, 2014. Directed by Young Vic : National Theater
as she “replaces the darkness”. Plath is demonstrating how humans can be used as coping
mechanisms (like Stella’s addiction to Stanley). Stanley’s realistic view on life juxtaposes Blanche’s
romanticised perception of the world. Consequently, due to Stanley’s destructive nature, throughout
the play he is seen attempting to expose Blanche’s reality “there isn’t a goddamn thing but
imagination”. Stanley, although knowing of Blanche’s illness, fuels Blanche’s trauma by exposing her
to reality. Correspondingly, in “Lady Lazarus” Plath’s persona displays her “scars”, which is a
metaphor for Plath displaying her depression to society yet rather society disregarding it. Moreover,
the last two lines of “Lady Lazarus” reflect a conflict between the real world and the imaginative
world (similar to Blanche). Critic 4Donald. E. Morse argues Plath’s poetry is reflective of her life, as in
“Lady Lazarus” Plath’s “soliloquy focuses on betrayal, death, and suicide" mimics her depression
within her life resulting into two suicide attempts. In contrast it can be argued that Blanche
presumably had PTSD, which was often triggered by Stanley. Through the use of blue piano one
could experience Blanche’s reaction to Stanley. The PTSD stemmed from the guilt of Alan’s death,
her cry “the shot!” represents how Blanche is forever reliving Alan’s death. Blanche, through the
play, views death with a harsh reality; she says to Stella, “death isn’t pretty”. Stella is unable to
understand this until Blanche’s symbolic death as she shouts “Blanche, Blanche”. Williams is able to
demonstrate the cyclical cycle of suffering caused by society. As Alan’s death was a result of society
and Blanche not accepting him, Blanche’s symbolic death was a result of Stella not accepting her. In
contrast, Plath within her poetry presents death as being more of an freedom and escape rather
than a tragedy.

The main question in both the literary works is weather the women can escape their suffering. Plath
within her poetry and life found an escape through suicide, as demonstrated within “Lady Lazarus”
where Plath deals with betrayal, death and the truth. At the end of the poem Plath is eventually able
to escape through suicide, whereas, the women within A Streetcar Named Desire only find
temporary escapes from their suffering. Williams depicts this constant state of temporary escapism
through Stella who uses her addiction to Stanley to endure the abuse she faces within her marriage.
The “thrill” Stella feels due to her toxic marriage is socially acceptable. Ergo, Stella’s “fix is worse
than” Blanche’s since Stella will never truly be able to escape her suffering as her sexual desire for
Stanley and societal expectations traps her in a constant state of suffering. 5 John McRae argues that
Blanche’s destruction is due to Stella’s sexual desire for Stanley that is stronger than her love for
Blanche. Plath’s use of imagery of a “drowned a young girl” symbolises the constant suffering
women are not able to escape. Plath is depicting the suffering she experienced due to the death of
her youth, which will only increase. Critic 6Steven Gould Axelrod argues that Plath “attained her
poetic strength in part by exploring the margins of weakness”. Axelrod is arguing that Plath’s
struggle with depression had inspired her poetry. Consequently, Plath depicted suicide as an escape
within her poetry, as in reality Plath escaped her suffering by committing suicide. Similarly, in the last
scene of The Streetcar Named Desire, Blanche escapes her suffering through her “tragic radiance”.
Williams is attempting to present Blanche’s fate as a Greek tragedy, which signifies the greatness

4
Vadon, L. (2012). The Publications of Donald E. Morse. Hungarian Journal of English and American Studies
(HJEAS), 18(½), 83-100. Retrieved October 28, 2020, from http://www.jstor.org/stable/43488462

5
https://www.massolit.io/courses/williams-a-streetcar-named-desire

6
AXELROD, S. (1984). Plath’s Literary Relations: An Essay and an index to the “journals” and “letters Home”.
Resources for American Literary Study, 14(½),59-84. Retrieved October 28, 2020, from
http://www.jstor.org/stable/26366413
within tragedy. Williams previously within the play does not mention Blanche as being “tragic”, as
Williams is attempting to illustrate Blanche has retained an unattainable level of greatness through
her symbolic death. Through Blanche’s ‘death’ she accedes beyond moral levels and becomes an
almost “Madonna” like religious figure and, by doing so is able to escape the purgatory(New
Orleans).Both writers present a hope of their female protagonists escaping from their suffering.
Plath’s poem “In Plaster” infers that the female persona will eventually escape her suffering, as “one
day” Plath will “manage without” using an façade in order to be accepted by society. Williams
similarly depicts an ambiguous hope through Blanche’s exist in the play. Blanche is escorted from
the play through a gentleman like figure who was the only character within the play to treat her with
respect. Ergo, Blanche’s notable dialogue “I have always depended on the kindness of strangers” is a
commentary of hope and a potential escape from her suffering. Blanche leaves the play as she
entered( looking like a southern belle) and unlike the other character, Blanche is able to leave the
play with the audience. Williams therefore leaves the audience to interpret the fate of Blanche, in
which the one may assume Blanche had a similar fate to Williams sister or Blanche was able to
escape her suffering through starting a new journey.

1993- word count without quotes and titles

2,338-words overall

Bibliography
Core texts:

Plath, Sylvia, Collected Poems , Faber and Faber, 2002

Williams, Tennessee, A Streetcar Named Desire ,Penguin Modern Classics,2002

Films

A Streetcar Named Desire, 2014. Directed by Young Vic : National Theatre

A Streetcar Named Desire, 1951, Directed by Eliza Kazan: Warner Bros

Wider reading and research:

Vadon, L. (2012). The Publications of Donald E. Morse. Hungarian Journal of English and American Studies
(HJEAS), 18(½), 83-100. Retrieved October 28, 2020, from http://www.jstor.org/stable/43488462

https://www.massolit.io/courses/williams-a-streetcar-named-desire

AXELROD, S. (1984). Plath’s Literary Relations: An Essay and an index to the “journals” and “letters Home”.
Resources for American Literary Study, 14(½),59-84. Retrieved October 28, 2020, from
http://www.jstor.org/stable/26366413