Connections Between Malfi and Streetcar
Use of Props/Aural Devices
Link
Physical Threats
In both plays, props are used to convey
the physical threats made by
characters.
While the threat posed by Ferdinand is
genuine and results in the Duchess’s
death, Blanche’s is reached to an empty
threat by the masculine force of
Stanley.This may acts as a
representation of masculine dominance
across both plays and eras.
The empty threats of Blanche could
also be compared to those of Julia in
Malfi- ‘your pistol holds nothing but
perfumes’- similarly reduced by
Bosola.
Aural Devices
While Malfi uses the aural device of a
song to darken the mood and prefigure
the Duchess’ demise later in the scene,
Streetcar uses multiple aural devices in
an Expressionistic way to represent
Blanche’s mental state.
Malfi
‘My fathers poniard’- Not only does
this act as a symbol of the male
patriarchy, but it also acts as a physical
reminder and threat towards the
Duchess’ femininity.
‘Die then, quickly!’- In his physical
threat towards her, Ferdinand uses the
poniard, accompanied by this
imperative which he emphasise with a
dynamic adverb and an exclamative,
demonstrates the clear physical threat
the Duchess is placed under. It also
exhibits Ferdinand’s extreme and
emotionally based response.
‘We’ll sing like swans to welcome
death, and die in love and rest’-
During the mad mens masque, they
sing a song as a form of celebration.
However, here, the typical celebrative
songs of masques is perverted into one
of death, drawing on the image of a
swan-song as a final performance
before death. Also, Swans typically
mate for life so in the loss of her love
the Duchess can only face death.
Streetcar
‘[She smashes a bottle… clutching
the broken top]’- Blanche makes a
physical and violent threat towards
Stanley, arguably in an attempt to
defend herself against the physical
threat of rape he poses. However the
verb ‘clutching’ implies a sense of
desperation, lessening the severity of
Blanche’s threat
‘Drop it!’- Unlike Ferdinand’s threat,
Blanche’s results in an empty threat,
diminished by Stanley’s force,
(indicated through an imperative like
Ferdinand) to place him in a
dominant position.
‘Polka’- The polka appears
throughout the play as a reminder of
Blanche’s past and the death of Allan
Grey.
‘[A locomotive is heard]’- The use
of the sound of a train approaching is
used multiple times, and can be seen
as a symbol of the rising
industrialism. Hence, it is presented
as threading towards Blanche, who
represents the Old South.
‘Blue piano’- Also used at numerous
points but acts as an atmospheric
aural device, calming the mood.
Context/ Critical Views
Malfi- The poniard acts as a symbol of
class, historically being worn by
members of the nobility or knights. In
this context then, the threat of the
poniard may acts as reminder to the
Duchess of her station and role as a
public figure.
Streetcar- In contrast to the poniard,
the broken bottle may acts as a
symbol of Blanche’s rejection of the
domestic and a stereotypical female
role of the 1940’s-50’s as a housewife.
On the other hand, her physical
desperation can be seen in a
Darwinian reading as a desperate
attempt of survival.
Charvari- In the perversion of the
masque scene, the section can be
viewed as a Charvari- a mock-
masque, baiting a bride who had
remarried too soon.This inverse the
optimism and creates a strange,
dismal scene- foreshadowing of the
Duchess’s death.
Jazz- The blue piano can be seen as a
reflection of the Blues music tradition,
which formed the basis of Jazz. In
contrast to the traditional polka, which
represents the past, the use of jazz-
inspired music may also represent
modernity.
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Use of the Classical Tragedy Form
ELEMENTS OF TRAGEDY
• Established in Aristotle’s Poetics (4th Century BC)
• Drama- character, plot, (poetic) language, theme, spectacle and music.
• Unities- time (in 24 hours), place (single setting throughout) and action (centre around main characters with no sub-plots and a satisfying ending).
• Dramatic Structure- only events necessary to the plot take place and move the protagonist naturally to their downfall/death.
• Mimetic function imitates reality (naturalism and realism)
• Hero of a high status, whose downfall arrises from an error of judgement, hubris (excessive pride) or a tragic flaw (hamartia)
• The downfall of the protagonist must arouse pity and fear.
• The Antagonist allows the hero to reach a point go self realisation.
• Catharsis- purgation/cleansing of negative emotions in the audience around the restoration of order and peace.
• Protagonist’s downfall must lead to order after chaos.
• Classical tragedy is concerned with the role of fate (the Gods) in the hero’s downfall.
• Shakespeare’s tragedy draws upon the classical model but is much more concerned with the role of character and the individual struggling with the
limitations of their mortality to find meaning in their purpose. In this way, they concentrate on character flaws more heavily. The protagonist is also
not confronted with divine intervention or moral code but is often victim of own flaws.
• Friedrich Nietzsche (The Birth of Tragedy, 1871) said that ‘Tragedy coaxes order out of chaos to create art’. He said that the origins of tragedy
symbolically represented in the confrontation of Apollo (Greek god of wisdom and restraint) and Dionysus (Greek god of pleasure, impulse, instinct
and ecstasy).
Link Malfi Streetcar Context/ Critical Views

Death Imagery
The use of imagery containing death
and destruction, both in the physical
locations of Malfi and the place names
of Streetcar, an element of tragedy is
maintained throughout each drama. In
doing so, the imminence of each
heroines downfall is maintained.
‘Doth threaten a violent death’- In
the horoscope, the violence and
destruction of the later acts is
foreshadowed. Although, it is ironic as
the baby who’s fortune is foretold here
is the only one to survive.
‘Ancient ruins’- The abbey may act as
a symbol of demolished power,
reflecting Antonio’s impoverished state.
‘Elysian Fields’- The name of the
Kowlaski residence creates a classical
allusion to the underworld in Greek
mythology. Blanche’s journey here,
therefore, reflects he own demise.
‘Belle Reve’- The name of the DuBois
family home translates as ‘beautiful
dream.’ While this has wider
connotations, it may reflect Blanche’s
own delusional state of mind. ‘Dream’
also makes these delusions temporary,
prefiguring her downfall.
Malfi- Ruined abbey’s reflect the times
in England, a result of the dissolution
of the monasteries after the
Reformation in Henry VIII’s reign, and
are an English landscape feature, not
an Italian one.
‘nobleness dies unto itself.’-
Waston
Streetcar- Belle Reve can be seen as
a wider comment as a reflection of the
American Dream demolished by the
war, or as a reflection of French
occupation in Napoleonic times.

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Link
Pity
Pity and sympathy is created for the
two heroines, predominantly through
the descriptions of others.
Catharsis
While in Streetcar, the catharsis is
constant and repeated, it is only
suggested in Malfi. This may act as a
reflection of Blanche, as a heroine who
is potentially already lost.
The Unities
Unities are traditionally used in tragedy
as part of the standard form. However,
neither play entirely adheres to the
unities.
For Malfi, time is disregarded to allow
for a greater sense of what will be
destroyed in the Duchess’ downfall.
For Streetcar, time is extended for the
opposite effect, to somewhat justify
Stanley’s actions.
Malfi
‘she gives majesty to adversity’-
Bosola implies that her endurance is
something to be admired, giving a
grandeur to her suffering and therefore
creating sympathy for her.
‘Mercy’- The Duchess’s final words
affirm her Christian status and creates
pity for her in her willingness to accept
reconciliation.
‘Baths at Lucca’- The spa's of Lucca
in Belgium were famous (found by
Montaigne) and were often referenced
as a cure for syphilis.This suggests
then that Cariola sees that the
Duchess needs cleaning from her
deception, and possibly that Cariola
sees the marriage as un-sanctified. In
relation to the use of tragedy, this could
be seen as a need for cathartic
cleansing.
Abides by the unity of action, in that
their are no subordinate subplots,
however it does not abide by the other
two unities. For example, Antonio visits
the ruined abbey, which acts as an
emblem of diminished power. The
timespan of the play also spreads over
many years rather than 24 hours. In
turn, this may allow for an increased
sympathy in the Duchess’ death. By
increasing her family and marital
happiness- ‘so merry’-, there is a
greater sense of what is destroyed.
‘I should dream it were within this
half hour’- Webster mocks this.
Streetcar Context/ Critical Views
‘people like you abused her, and Both- In line with the Tragic form,
forced her to change’- Sympathy is sympathy is created for the heroines
arguably created for Blanche through so that their downfalls are emphasised.
Stella a her descriptions of Blanche in Malfi- ‘the radiant spirit of the Duchess
the past. This perspective suggests cannot be killed’- Murray
Blanche is not responsible for her
actions as she has been manipulated
by ‘hard’ people and as she is a
woman who has to put on ‘soft colours’
in order to cope.
[Blanche is bathing]’- Blanche’s Catharsis, in Aristotle’s model, serves
bathing is a repeated motif, occurring to purge the audience of the negative
throughout the play. This bathing can emotions of tragedy as well as those of
be seen cathartically in the purging of the heros/heroines.
her own negative emotions.
Like Malfi, Streetcar adheres to the Unities- time (in 24 hours), place
unity of action with the plot centring (single setting throughout) and action
around the 4 main characters with a (centre around main characters with no
few minor characters for different sub-plots and a satisfying ending).
comparative and symbolic effects.
Unlike Malfi, it also adheres to place,
with all the action happening in Elysian
Fields, solidifying Blanche’s
association with it.
Time is extended, however. This may
act as a justification for Stanley to
remove Blanche when he offers her a
‘bus ticket’ as she has over stayed
her welcome.
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Link
Harmartia
The tragic flaws of the two heroines
differ, however both ultimately lead to
their downfalls.
It may be argued that Blanche has
already begun her descent into
madness prior to the plays beginning
with the loss of Belle Reve, Allan Grey
and her alcoholism at the start of the
play. Hence, her Harmartia is exhibited
more clearly, while the Duchess is still
in conflict between her two roles.
Reality v. Illusion
Link
Concealment through stagecraft
Both plays use the dramatic device of
curtains as methods of concealment.
In Malfi, this acts to conceal the
marriage, while in Streetcar it conceals
Blanche’s femininity from the men. In
both plays then, the women feel a
need to conceal their feminine desires
from the masculine world.
However, while Malfi’s curtains have
connotations of tragedy, the curtains in
Streetcar offer divisional symbolism of
gender and class.
Malfi
‘Whether the spirit of greatness or
of woman reign most’- For the
Duchess, her downfall mostly stems
from her conflict between her state
position and her femininity. In her
arguable neglecting of her state role in
favour of her marriage can be seen to
result in her demise.
Malfi
‘place thyself behind the arras’-
Arras refers to curtains, a dramatic
device often used in tragedies as a
method of concealment and secrecy.
As a dramatic device then, this
concealment may foreshadow the
unveiling of the wax figures later in the
play, implying that concealment leads
to tragedy.
Cariola, as the witness to the marriage,
may represent the concealment of the
marriage as a whole.
Streetcar
I don’t want realism… I want.
Magic!’- Blanche’s flaw lies in her
inability to accept reality. Emphasised
here through the use of a minor
exclamative sentence, her delusions
rule her perceptions, causing her to be
overrun by a forward moving society.
Streetcar
‘[the portieres]’- As stage craft, these
curtains are symbolic of the divide
between the male and female world,
creating a juxtaposition in this scene.
Blanche draws them closed, arguably
implying that she conceals her true
femininity from the men- out of fear or
due to its vicious nature.
‘[Mitch… continues through the
portieres]’-Mitch repeatedly crosses
between this boundary throughout the
scene, showing that he has a more
feminine side and is more sympathetic
to women.
Context/ Critical Views
In the tragic form, a hero of a high
status, whose downfall arrises from an
error of judgement, hubris (excessive
pride) or a tragic flaw (hamartia)
Malfi- ‘the Duchess, not her brothers,
stands for ordinary humanity, love and
the continuity of life through children.’-
Ribner
Context/ Critical Views
Malfi- the use of curtains as a method
of concealment can be linked to
Hamlet. Polonius similarly ‘[hides
behind the arras]’ and is slain by
Hamlet in the same scene. This may
act as a precursors then to Cariola’s
death
Streetcar- While the division between
the rooms may symbolise a gender
divide they may also be symbolic of a
class divide within 1940’s America.
Both women are of a higher class,
descended from plantation owners,
while the men are working class.
'Dramatises the battle between the
sexes'- Tapp
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Link
Dark and Light Imagery
In both plays, the light and dark
imagery is symbolic of a contrast
between truth and virtue, and
deception and concealment. However,
while the Duchess is associated with
the light, Blanche is associated with
the dark. For the Duchess, this may
imply that despite being equally
deceptive her intentions were noble
whereas Blanche can arguably be
perceived as the corrupted figure.
Deception of Women
Both heroines are deceptive, the
Duchess towards her brothers in her
clandestine marriage and Blanche in
hiding her diminishing prospects and
her retreat into fantasy as an escape
from reality. Arguably, the Duchess’
deception is more manipulative and
amoral as Blanche appears to believe
her own deceptions in her unstable
mental state.
Malfi
‘she stains the time past and lights
the time to come’- In regards to light
imagery, Antonio associates the
Duchess’s virtue and nobility with the
light. However, this indicates that she
fails to live in the present, does not see
the forthcoming danger?
‘Take hence the lights’- In
Ferdinand’s visit, the light symbolising
the Duchess’s virtue is removed,
removing her security. In contrast,
Ferdinand is associated with darkness,
embodying his sinister qualities and
the deception/torture he subjects her
to.
‘A scandalous report is spread
touching mine honour’- The Duchess
is also manipulative by being upfront
about the reports to suggest that they
are fabricated lies. In testing Ferdinand
it becomes unclear as to whether she
is naive in underestimating him or
uncaring.
Streetcar
‘I can’t stand a naked light bulb’-
Blanche’s rejection of light can be seen
as a symbol of her rejection of truth
and reality. By hiding in the darkness,
she becomes a deceptive figure and
uses the darkness as security from her
true age, nature and intentions.
‘Suddenly turned a blinding light on
something that had always been
half in shadow’- In depicting her
experiences with Allan Grey, light and
dark imagery becomes more
associated with the reality of love
compared to its ideal. In returning fully
to the ‘shadow’, she becomes
enveloped by her delusions.
’just now- this wire- inviting me on a
cruise’- Blanche fabricates a reality in
which She Huntleigh comes to rescue
her away. While this is a lie to Stanley,
demonstrating her deceptive and
delusional nature, it also illustrates her
retreat into the past and illusion away
from reality.
Context/ Critical Views
Malfi- The contrasting associating of
Ferdinand with the darkness may be
indicative of his darker Machiavellian
qualities and his sinister ability to
manipulate and deceive his own family
arguably for his own political gain.
Streetcar- The use of lighting,
particularly of the ‘[paper lantern]’,
reflects a German Expressionistic style
in allowing the stagecraft to be
symbolic of the characters internal
emotions. This is also seen in Scene 4
when Blanche is isolated from Stella
though lighting when the lights have ‘[a
lingering brightness on their embrace]’.
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Superstition
Link
Astrological Beliefs
Both Blanche and Antonio are fatalists
and have superstitious beliefs of
destiny.
Religion/ Pragmatism
Stella and Antonio significantly differ in beliefs in fate seem to rest in his
their approaches to crises. While Stella religious faith of a divine plan.
has a highly pragmatic approach,
Antonio relies on divine intervention
Dependency v. Freedom
Link
Dependency leads to Weakness
In contrast to characters like Bosola
who are somewhat independent,
Blanche and Antonio completely
subject themselves to the wills and
actions of others. In becoming
dependent on others they weaken their
own positions, arguably leading to their
own downfalls.
Malfi
‘[Enter Antonio, with a horoscope]’-
Antonio’s faith in the horoscope he
reads demonstrates his faith in
astrology and reliance on fate. Unlike
the Duchess then, Antonio seems to
take a passive role and relies on
destiny.
’heaven hath a hand in’t’- Antonio’s
Malfi
‘my life lies in your service’- Antonio
places his faith and fate into the hands
of others, unlike the Duchess who
takes an active role in her fate (shown
in her use of imperatives- ‘fly towards
Milan’). This creation of dependancy is
arguably his downfall as it makes him
weaker in the face of threats.
Streetcar Context/ Critical Views
Astrological signs are used to uncover
Stanley and Blanche’s nature.
‘Capricorn- the goat!’- Stanley’s star
sign is a symbol of ambition and an
ability to thrive, demonstrating his self
driven nature. They can also have
demonic connotations.
‘Virgo is the virgin’- As a virgin figure,
Blanche’s star sign becomes ironic due
to her extended experiences with men.
Instead it can also represent her
idealised self.
‘That’s much more practical’- Stella The contrast between pragmatism and
has a highly pragmatic approach, religion may act as a reflection of the
suggesting that a drink is a practical times. Jacobean society was far more
solution than the police. religious than the more secular,
modern age.
Streetcar Context/ Critical Views
‘I have always depended on the Streetcar-
kindness of strangers’- Blanche’s ‘the destructive power of society on the
final words demonstrate her sensitive non-conformist individual’-
dependancy on others, and is ironic in Williams
the sense that men have only been
kind to her in exchange for sex. It also
becomes ironic as the Doctor is not the
chivalric hero of Shep and this
demonstrates her total detachment
from reality.
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Betrayal
Link
Attempts to Expose the Women
Across both plays, men attempt to
expose the women’s concealed
secrets. However, while Bosola adopts
a spying method, reflecting his role as
an intelligencer, Mitch becomes more
violent in forceful in his resolute
demand for the truth.
Betrayal and Rejection
Both women are mistreated by men.
For the Duchess, she is deceived and
tormented by Bosola, while Blanche is
rejected by Mitch due to her
misleading appearances. For both, this
leads them towards their downfalls.
Class Division
Link
Class Division
Both plays contain tensions between
class’s. In a similar way, both of those
persecuted (Bosola and Stanley)
retaliate against the upper classes.
From a Marxist perspective then, class
divisions can be seen as the source of
tragedy for the upper classes.
Malfi
‘Apricots… did ripe in horse dung’-
Bosola reveals that the fruit is
forcefully ripened, a symbolic image of
corruption. May act as an inverted
Edenic image of Adam offering Eve the
forbidden fruit which brings the
Duchess her labour and betrayal.
‘[Bosola, like an old man]’- Bosola’s
disguise may reflect his own
duplicitous nature, as in disguising
himself he attempts to conceal a part
of himself, representing an inner
conflict between the contract he has
with the brothers for his own gain/
ambition and his morality.
Malfi
‘I’ll give thee a pardon’- Despite
having executed Ferdinand’s
demands, Bosola is still mistreated,
demonstrating the abuse and hardship
he faces due to his status.
‘A fantastical scholar’- This
mistreatment is somewhat emphasised
in Bosola’s high academia, suggesting
he should be of a higher status but is
oppressed by the brothers.
Streetcar
‘[tears the paper lantern]’- Mitch’s
actions, characterised through the
dynamic verb as violent, demonstrates
his attempt to expose Blanche’s
concealed age and her true nature.
The forcefulness of this is reflective of
Stanley’s actions, indicating his altered
perspective.
‘You’re not clean enough’- While
Mitch is willing to accept Blanche’s
age, he rejects her for her promiscuity,
openly rejecting her. This functions to
isolate Blanche and leave her with no
hope, in turn allow for her complete
descent into madness.
Streetcar
‘Polack’- Blanche’s frequent use of a
derogatory term for Stanley’s Polish
ethnicity throughout the play, implying
that they make him stupid. This
ignorance to the ‘[easy intermingling
of races]’ depicted in the first scene
and the upwardly mobile immigrants in
America makes Blanche a relic in the
New America with her southern
aristocratic superiority no longer being
viable.
Context/ Critical Views
Malfi- (Unripened) Apricots were often
used in the Mediterranean as laxatives
and were known to induce labour.
Streetcar- German Expressionism
(see light/dark imagery)
Malfi- Bosola’s appearance may act as
an allegorical figure in line with
Morality plays as a symbol of death,
which precursors the Duchess’s
demise.
‘Bosola, the chief instrument in the
Duchess' betrayal and subjection, also
bears the strongest witness to her
virtues.’- Badbook
Context/ Critical Views
Malfi- Bosola becomes the victim of
the Great Chain of Being.
Streetcar- The tensions between
Blanche and Stanley is symbolic of
wider tensions in America. In a post
bellum era, after the civil and world
wars, three was conflict between Old
America, based on slavery and
aristocracy, and the modern age,
based on industrialism and the working
classes.
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Madness and Death
Link
Madness
Madness is present as a destructive
force in both plays. For Ferdinand,
his madness becomes an
embodiment of his guilt and unfilled
desires while Blanche’s madness
offers her protection from reality in a
retreat to her past. Both types of
madness, however, seem to stem
from unfilled desires.
Death
Both heroines face death. However,
while the Duchess’ death is very
much literal, Blanche’s death is more
mental with her total descent into
madness likening a tragic death.
Malfi
‘lycanthropia’- Ferdinand’s madness is
diagnosed as a disease which causes
him to believe he is a werewolf.
‘she her in the shameful act of sin’-
His madness can be seen as a cause of
his unfulfilled incestuous desires for his
sister.
’Tis your shadow’- In being haunted by
his shadow, as a reflection of the
Duchess as Ferdinand’s twin, can be
seen as an embodiment of his guilt.
‘[a [shrouded] coffin, cords and a
bell]’- Theatrical element creates
suspense and an impending doom for
the Duchess’s demise, with further
symbols of death.
Streetcar
‘[a group of spectral admires]’-
Blanches begins reliving of her past
as a Southern Belle. Ghost-like
figures emphasise her false
fantasies and her complete retreat
into the past.
‘moonlight swim’- The motif of the
moon is repeated as a symbol of of
lunacy (madness). The use of ‘swim’
here may relate to the motif of
‘bathing’ and the Carthaic cleansing.
‘[lead her as if she were blind]’-
Blanche’s blindness in her final exit
can be seen as symbolic to her
mental death, no longer having
control of her physical actions.
Context/ Critical Views
Streetcar-
Links to the belief of madness being
linked to feminine emotions. (hysteria
coming from the greek word for
womb=hysta).
In Aristotle's theory, the moon
represented the barrier between heaven
and humanity, signally Blanche’s
transcendence from her skin mortal
position.
‘'Blanche an anachronistic leftover from
that culture'- Mazzeno’
Streetcar- Blanche’s demise serves
several functions in the play. Firstly as a
reflection of William’s sister Rose who
had a lobotomy. But also as a reflection
of William’s ambivalent attitude towards
the Old South. While Blanche does not
die violently like the Duchess, her death
allows the South to die with her.
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Marriage and Relationships
Link
Relationships
Both plays over contrasting perspectives
on relationships. In Malfi, the contrast is
between a holy and sacrificed marriage,
which is depicted as fulfilled and fruitful,
and the corrupted, deceitful marriage of
Julia and the Cardinal which not only acts
as a social criticism but also raises the
Duchess’s marriage to a higher status.
In Streetcar, the contrast is between
gender roles within a marriage dynamic.
While this arguably undermines Stella’s
submissiveness further, it acts as a wider
comment concerning the position of
women in 1940’s America.
Marriage
There is arguably more equality in the
marriage depicted in William’s play than
in Webster’s, as Malfi depicts marriage to
be a form of control and a method of
political advancement. However, while
aspects of Stella’s marriage are restrictive
(such as her lack of independent
finances), by law she is more equal to her
husband than the Duchess would be.
Malfi
‘when we we so merry?’- In the
depiction of the Duchess and Antonio’s
marriage, there is a sense of
contentment conveyed, which increases
the pity felt for their tragedy but also
suggests that their marriage is
wholesome and therefore sanctified. Also
the use of the plural first person pronoun
unifies this.
‘you are to thank me’- In contrast to the
collective pronouns, the Cardinal in his
discussion with Julia demands attention
from her in boasting his sexual prowess.
This offers a corrupted depiction of an
promiscuous relationship which contrasts
to that of the Duchess, increasing her
status.
‘I would not have her marry again’-
Ferdinand uses marriage (or an absence
of in this case) to control the Duchess
and her property. In keeping her a widow,
he maintains control over the Duchess’s
estate. This can also be seen as a desire
to control the Duchess as a manifestation
of his incestuous desires for his sister,
preventing her from having sexual
relations as he can’t have her.
Streetcar
‘[Led down]’- After the violent poker
scene, Stella’s physical placement on
stage is indicative of her
submissiveness to Stanley.
‘you’d better give me some money’-
In Stella and Stanley’s relationship,
Stanley is primarily presented to be
the dominant figure, due to his
financial control over the household.
‘[Steve comes down nursing a
bruise]’- Steve’s abused nature and
his physical lowering on stage (‘comes
down’ like Stella being ‘led down’)
parallel’s Stella’s position in her
marriage. However, Eunice is then
shown to be the dominant figure in the
relationship, offering a contrasting
gender positioning to Stella and
Stanley’s relationship.
‘Napoleonic code’- In Stanley’s
reference to this civil code, he
emphasises that ‘what belongs to the
wife belongs to the husband and
vice versa’. In this sense Stanley
justifies his interest in Stella’s
inheritance as it impacts them both
equally. Marriage from this perspective
can be viewed as more equal in the
1940’s.
Context/ Critical Views
Malfi- The Cardinal’s corrupted
morals in his sexual relations with
women, despite him holding a
‘celibate’ church role. This may
act as a criticism of Catholicism
as a reflection of the Catholic/
Protestant tensions in England at
the time.
‘expresses only satisfaction of his
sexual prowess’- McLuskie
Streetcar- This comparison can
be seen as a social comment on
the social position of men and
women of the 1940’s and their
stereotyped gender roles. Post
war, many women were forced
back into domestic roles after
being given work in the war,
further undermining their roles
within society.
‘Dramatises the battle between
the sexes’- Tapp
Streetcar- The Napoleonic code
is a French civil code, enacted
on 21st March, 1804. However, its
contents went on to influence
many aspects of European and
American law.
Malfi- ‘a cautionary tale which
shows what can happen when
women marry without being
granted the "proper" consent.’-
Roider
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Patriarchy
Link
Animalistic Imagery
Men in bot plays are depicted in
animalistic (or elemental) fashions
as a reflection of their power and
virility. For Stanley, this gives him
power and masculine dominance
in his home, but for Ferdinand this
raw animalistic emotion eventually
leads to his own destruction.
Male Patriarchy Assertions
In both plays, the societies
function through female
subordination under a male
patriarchy, here demonstrated in
their assertions of power. Both
use language combined with
physical violence in an attempt to
maintain their power over the
women.
Malfi
‘take fire when I give fire’-
Ferdinand repeatedly associates
himself with this destructive force,
using it as a means to control the
court.
‘[Ferdinand attacks the Doctor]’-
Ferdinand’s violent actions as
symptoms of his lycanthropia,
embody his degenerate and
baseness in madness.
‘[gives her the poniard] Die then’-
As a symbol of the male patriarchy,
Ferdinand threatens the Duchess
with their fathers poniard to remind
her of her role and power status in
the face of her feminine sexuality
embodied in her secret marriage.
‘Upon a time, Reputation, Love
and Death’- Uses an Allegorical tale
in an attempt to teach the Duchess
the importance of reputation.
Streetcar
‘[Gaudy pyjamas]’- ‘Gaudy’ has
previously been associate with
Stanley’s clear virility in his sensual
state and his masculinity. However,
in this image, they act as an
animalistic mark of territory (possibly
to ward off Blanche).
‘[Stanley stalks fiercely]’- In the
stage directions, Stanley is depicted
as animalistic and predatory.
‘I’m the king around here’- Here
Stanley asserts his male dominance
further resembling male chauvinist
ideals- a male who patronises, or
denigrates females in the belief that
they are inferior to males and thus
deserving of less than equal
treatment or benefit.
‘[Hurls his plate on the floor]-
Dismissal of the domestic and a
physical assertion of dominance.
Context/ Critical Views
Malfi- All of Ferdinand’s animalistic and violent
behaviour can be seen as a product of his
lycanthropy. Lycanthropy, in Jacobean England,
was associated with guilt and remorse as well
as witchcraft and love melancholy.
Relates to the story of Peeter Stubbe, a farmer
who was convicted of being a werewolf in the
late 16th century. This story informed the
English on werewolf nature and made it a
popular reference.
‘The complete descent of man into beast’-
Ribner
Streetcar- From a Darwinian perspective,
Stanley’s territorial and predatory nature is to
ensure his survival against Blanche’s threat of
femininity and aristocracy.
'Darwinist struggle for survival between two
'species' of human beings’- Burks
Streetcar- ‘Huey Long’- Great Depression
politician (1930’s) who promoted working
classes and wealth distribution.
’Stanley might represent the more animalistic
presence’- Burks
Malfi- Use of allegory links to the influence of
mortality plays, in which a characters moral
qualities were often personified.
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Friendship
Link
Friendship
Friendship, amidst the tragedy and
deception of the rest of the plays,
offers security for some characters. For
Antonio, it ensures his legacy is
continued despite his death and for
Mitch, it prevents him from being
corrupted along with Blanche.
Femininity
Link
Female sexuality
For both heroines, it is arguably their
promiscuity and/or their overt sexuality
which makes them threatening to
masculine figures.
Malfi
‘I’ll second you in all danger’- Delio’s
friendship and loyalty offers Antonio
security in the face of danger. It is then
because of this that Antonio and the
Duchess’ legacy is continued through
the protection of their son, allowing for
order to be restored.
Malfi
‘[She kisses him]’- The Duchess, as
depicted in the stage directions, is
shown to be the dominant figure in
their relationship. This may
characterise her as the ‘lusty widow’,
who’s overt sexuality is seen as
threatening by the men.
Streetcar
‘I’d have that on my conscience… if
I knew all that stuff and let my best
friend get caught!’- Stanley reason’s
his exposure of Blanche by his
friendship with Mitch, creating a level
of sympathy towards his actions in
suggesting they were out of loyalty.
Streetcar
‘Tarantula arms… that’s where I
brought my victims’- Blanche mocks
the idea that she is deadly through her
overt female sexuality, however she
confirms that she is overruled by her
desires and becomes threatening to
masculinity.
Context/ Critical Views
Streetcar- Stanley’s virile, aggressive
brand of masculinity is to be admired'-
Mazzeno
Context/ Critical Views
Streetcar- Femme Fatale- an
archetype of femininity- a mysterious
and seductive woman whose charms
ensnare her lovers, often leading them
into compromising, dangerous, and
deadly situations.
'Streetcar is a play of sexual politics’-
Lee
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