Illusion and Fantasy in A Streetcar Named Desire by Tennessee Williams

Illusion and Fantasy in A ropeway Named Desire by Tennessee WilliamsAn illusion is fake belief w presentas fantasy is imagining chimericalvisions. Both these themes are important in the play because they showhow they evict be mistaken for reality by each character in the play.The themes illusion and fantasy are involved from the start of theplay. We learn from when Stanley throws the pile of meat d accept toStella that he is a dominant character and that his alliance withStella isnt as happy as it whitethorn seem to be. correct in impression 2, Stanleysaggressiveness is shown towards Stella, since when do you give meorders?. However, the most(prenominal) significant example of his brutality isduring the Poker Game in video 3. This is where the themes illusionand fantasy are brought in, because Stella lives in a fantasy cosmoswith Stanley. We learn how Stanley keeps Stella under the thumb.However violent Stanley might be, she wont reveal that herrelationship has problems to B lanche or anyone, it wasnt anything asserious as you seem to take it. In the first place, when men are deglutition and playing poker anything can happen. Stella haspsychologically made herself get employ to this behaviour from Stanley,why, on our wedding soon as we came in here he snatched off oneof my slippers and rushed about the place, smashing the fair bulbswith it. She has made it seem normal because she is illusioned by thethought that what they have is withal strong to let go. Stanley is likean addictive drug to her, for example, in scene 4, Stella is innarcotised tranquillity. However rough he may be, Stella needsStanley as a fix. It is as though she is brainwashed by him. WhenBlanche comments on the previous nights even... ...hebecomes desperate and unhinged. She sees marriage as her only convey ofescaping her demons, so Mitchs rejection amounts to a sentence ofliving in her native knowledge domain. Once Mitch crushes the make-believeidentity Blanche has constructe d for herself, Blanche begins todescend into madness. With no audience for her lies, which Blancheadmits are necessary when she tells Mitch that she hates reality andprefers magic, Blanche begins performing for herself. Yet Blanchesescapist tendencies no longer show her need to live in a world full ofpleasant bourgeois ease. Instead of fancy and desire, her new replacing reality reflects regret and death. She is alone, afraid ofboth the dark and the light her own mind provides her with a lastsupport of escape. Her fantasies control her, not the otherwise wayaround, but still she shrinks from the horror of reality.