A Streetcar Named Desire: The Modern Embodiment of Tragedy - Essay Example

Section/# “A Streetcar d Desire The Modern Embodiment of Tragedy At its most basic level of definition, a tragedy can be defined as a play that deals with tragic events and/or as an unhappy ending. More often than not, the unhappy ending can be brought about by the “tragic flaw” of a main character/protagonist. As such, many plays throughout the course of the centuries have utilized tragedy as an approach with regards to relating a particular story, and/or delineating a particular message to the viewer/reader. A common, yet not pervasive aspect of tragedy is that the main character/protagonist is oftentimes attempting to “fix” some aspect of the current world or return to the simplicity, joy, or other positive elements of a bygone era. For instance, one of the most famous tragedies ever penned, and of his, sees the story open with Oedipus attempting to find a way to read his native home town of plague. The futility of such an effort to return to a bygone era or set things according to the way in which the protagonist sees fit is dully represented within “A Streetcar Named Desire”. As such, the following analysis will be concentric upon discussing and presenting the ways in which this particular play typifies tragedy. Before delving directly into the way in which an unhappy ending is derived as a result of the actions that are taken during the play itself, it is necessary to underscore and emphasize the impact that Blanche’s tragic flaws have with regards to the way in which the action of the play unfolds. Firstly, it must be noted that Blanche is both vain and prideful. This vanity and pride necessarily distract her from the reality of the world and convince her that her narrow-minded interpretations are somehow correct; whereas everyone else is naturally incorrect. Moreover, her vanity not only encourages her to see the world in a flawed manner, it also detracts from her ability to understand and interpret real emotions and realities that surround her; realities and emotions that might otherwise have saved her from this tragic flaw and/or the outcome that it necessarily concludes with. Channeling the approach that is been discussed previously, with regards to Oedipus, Blanche rages against the change that is taking place around her; lusting for what once was but what will never be again. The realities of a new South, industrialized as the result of two world wars, and rapidly changing with respect to the degree and extent to which freedom is exhibited among previously disenfranchised stakeholders, Blanche is left in a state of confusion, quandary, and discussed with regards to the rapid shifts in culture and society that surround her (Crandell 96). It is at this particular juncture that Blanche’s tragic flaws that begin to create a clear and definitive path towards her own destruction and the tragic end of the play. For instance, as has been noted earlier, Blanche is both prideful and vain; flaws that encourage her to perpetrate lies as a means of seeking for world seemingly alive. Naturally, as Blanche engages in this intricate web of deception and lies, individuals become her (Williams and Garrett). Furthermore, as a means of promoting her own vanity, she uses sex as a weapon. These two tragic flaws are interrelated. As Blanche continues to use sex as a means of garnering long-lost love, the impact of the lies that she has told causes individuals within her life to hate her; thereby utilizing sex as a weapon against her to punish her for the cruelty of the lies that she has told. What this ultimately affect is a situation in which the protagonist is not only a stranger in this “new society” that she most vociferously denies and hate, she also is forced into seclusion and cloister due to the fact that she is unlocked, on trusted, and used. With only her vanity and pride left intact, these tragic flaws ultimately caused the complete destruction of the protagonist. Further, in helping to delineate why this particular play can be held up as a hallmark of tragedy, it must be understood that Blanchard begins the play by working against the unstoppable forces of change that exists within the world. As such, prior to any delineation of her tragic flaws, the reader is left with an interpretation and understanding for the fact that Blanche ultimately is facing a losing battle. When this losing battle is juxtaposed with her tragic flaws, a fatal mixture is provided through which these tragic flaws are utilized to amplify the way in which defeat and failure is evidenced as the play continues. Yet, regardless of the societal shifts, the changes in understanding and interpretation, and even the tragic flaws that Blanche represents, it must be noted that another aspect of tragedy that is represented within this particular play is the fact that Blanche does not exhibit any control whatsoever of any of these factors (Drobot 155). Naturally, it is impossible for her to represent a unit of control with respect to the way in which the world is changing. However, even though this is the case, the reader could still be led to believe that the character traits, referred to as tragic flaws within this analysis, could somehow be changed and lead to a different outcome. Although this may in fact be true within another genre, a specific hallmark of tragedy is the fact that these tragic flaws are immutable and therefore remain with the character of until the very end; ultimately coalescing and their complete annihilation and/or destruction. Due to the way in which the plot unfold and the choices that Blanche make, it is the definitive understanding of this particular analyst that "A Street Car Named Desire" is indicative of a tragedy within the modern era of literature and playwriting. Although the information that is thus far been presented might be understood by the reader as definitive of the fact that “A Streetcar Named Desire” is somehow depressing with regards to its ultimate outcome, a unit of understanding and appreciation can ultimately be gleaned from this tragedy. Further element of tragedy that is not yet been discussed is the fact that even though the protagonist experiences a tragic end, as a result invariably of their tragic flaws, the remaining characters, and indeed the readers/viewers of the play in question, are able to learn from the mistakes that are represented and seek to alter their own interpretations and lifestyle accordingly. As such, it is the firm belief of this particular analyst that Tennessee Williams was actively seeking to represent the way in which rapid change was redefining the entire American experience during the period of industrialization and commercialize nation that was gripping United States since the close of the Second World War. An undeniable impact of all of this was of course the loss of identity, culture, and connection that many individuals had to a past era that was no longer relevant. However, rather than merely beating the viewer/reader over the head with this information, Tennessee Williams instead chose to focus upon the way in which a flawed approach to the world and the means through which it operated and should be represented could lead to a disastrous outcome. In much the same way that the Christian parables of Christ referenced a story within a story, the modern day representation of the tragedy, as illustrated by Tennessee Williams, is indicative of the way in which modern society should integrate with a level of appreciation and acceptance for the fact that change is an invariable part of life; one that need not necessarily Rob joy and the love of life from the individual who experiences it. As a be seen from the previous analysis, the telltale marks of tragedy, both with respect to the way in which the story is written, the determinations that can be made from the conclusion, and the representation of the protagonists tragic flaws that ultimately lead to destruction are all indicative of the hallmarks of tragedy. Whereas many genres in literature have come and gone with the times, the genre of tragedy has evolved very little from the time of Oedipus and the Greek playwrights. This is not meant to cast a level of aspersion on to Tennessee Williams or any modern playwrights that integrate with tragedy as a means of telling a particular story. Rather, it is instead meant to point to the fact that tragedy is such an effective vehicle for expressing the human condition that playwrights, poets, filmmakers, and artists of all stripes continue to integrate with this particular delineation of the human condition. It is only through further discussion and analysis of the way in which flawed human approaches to change impact upon the way in which life is exhibited that the reader/viewer can come away with a more appreciable understanding of the mistakes that they should most certainly not make with regards to attempting to change aspects of the world that are beyond their control and therefore immutable. Works Cited Crandell, George. "Beyond Pity And Fear: Echoes Of Nietzsche's "The Birth Of Tragedy" In Tennessee Williams's "A Streetcar Named Desire" And Other Plays." Southern Quarterly 48.4 (2011): 91-107. Academic Search Complete. Web. 15 Oct. 2013. Drobot, Irina-Ana. "Perception Of Reality In A Streetcar Named Desire." Scientific Journal Of Humanistic Studies 4.7 (2012): 153-156. Academic Search Complete. Web. 15 Oct. 2013. Williams, Tennessee, and George P. Garrett. A streetcar named desire : a screen adaptation directed by Elia Kazan. New York: Irvington Publ, 1989. Print. Read More