Patriarchal ideology of marriage in the character Stella in A Streetcar Named

Desire shown through discourse and action

In your own words, identify an ideology of marriage in the character of Stella in A Streetcar
Named Desire, pointing to moments in the play where this ideology manifests in actions or
discourse.

‘Theory of ideology and discourse’

Clara F. Hazell
S4932447
English Language and Culture BA1: Literary Theory
Dr. M.R. MacVeagh
Friday July 1st 2022
 1

Ideology, according to Peter Barry is ‘outlook, values, tacit assumptions, half-realised

allegiances.’1. Ideology is the set of shared beliefs implied by statements in discourse.
Discourse is the body of statements analysis opinions etc. relating to a particular domain
especially as characterized by recurring themes, concepts, or values. A patriarchal ideology
of marriage is seen through the character Stella in the play A Streetcar Named Desire, with
the use of lack of, and weak discourse and submissive actions.

A patriarchal ideology is shown through the character Stella as submissive discourse

and actions present her to be in a weak position in the marriage of her and Stanley. Their
dynamic in marriage is portrayed to be overpowered by Stanley, demonstrated through his
lack of respect for Stella when he interrupts her speech. ‘No, I don’t and—’2 illustrating
Stanley’s disrespect towards her and her opinion. In this, Stanley is shown to be more
powerful than her in the marriage. This lack of discourse depicts an imbalance in their
arguments and deems her powerless as she cannot voice her own opinion, enforcing the
patriarchal role of men within marriage. When she does criticize Stanley, He responds with
violence. She states that ‘your face and your fingers are disgustingly greasy. Go and wash up
and help me clear the table’.3 Eliciting a harsh response as Stanley ‘[hurls a plate to the
floor]’,4 and ‘[hurls a cup and saucer to the floor]’.5 Suggesting that if she criticizes him, he
perceives her action as trying to reclaim power, further proving that if his patriarchal position
is threatened, he uses violence to make her submissive. Stella’s defeat is shown through her
action of ‘[cry[ing] weakly]’6 after Stanley ‘[seizes her arm]’.7 Demonstrating Stanley’s full
control over her as she accepts his treatment towards her. Her submissiveness is further
presented through her body language as she ‘[draws back]’8 from Stanley, suggesting that
Stanley’s masculinity and powerful position in the marriage intimidates her. His lack of
respect for Stella is displayed as he disregards her comfort. She states, ‘I don’t want to hear

1
Barry, Peter. Beginning Theory: An Introduction to Literary and Cultural Theory. 4th ed. 106. Manchester:
Manchester University Press, 2017.
2
Williams, Tennessee. “A Streetcar Named Desire” In The Norton Introduction to Literature. 13th edition.
Edited by Kelly J. Mays, 1886. New York: W. W. Norton & Company, 2019.
3
“A Streetcar Named Desire”, 1891.
4
“A Streetcar Named Desire”, 1891.
5
“A Streetcar Named Desire”, 1891.
6
“A Streetcar Named Desire”, 1891.
7
“A Streetcar Named Desire”, 1891.
8
“A Streetcar Named Desire”, 1887.
 2

anymore’9 and ‘This is making me —Sick!’,10 implying that his overpowering role in the
marriage allows him to violate her comfort and cross her boundaries. Further reinforcing the
patriarchal ideology imbedded in the dynamic of their marriage. To conclude, Stella’s
discourse and actions show her to be the submissive partner in the marriage. The continuation
of her acquiescent discourse manifests a greater growth of the patriarchal dynamic, causing
her to grow more obedient over time. Her passive actions also enhance the idea of the
ideology of her marriage being patriarchal as she has no power, and fails when trying to gain
it.

Moreover, patriarchal ideology within marriage is realised through the use of

discourse, portraying Stella to be placed into a subservient role. Stella’s view of the marriage
is shown through her action to be subservient to Stanley, seen when she ‘[jumps up and kisses
him, which he accepts with lordly composure]’.11 The verb ‘accepts’ connotes that Stanley
possesses power in the marriage, as he is in a position to decline her love on his accord.
Furthermore, Stanley’s body language, in contrast to Stella’s, is strong. He demonstrates a
‘lordly composure’, illustrating his authoritative figure and overall position within the
marriage as she answers to him, creating a sense of hierarchy as his role is presented to be
superior. Ian Buchanan states, ‘two other characteristics of ideology: it is frequently invisible
to its adherents and it serves to create rules or regimes of inclusion and exclusion’.12 Stella is
unable to recognize the powerless position she is in, shown as she stays in the marriage with
Stanley. The regimes created are driven by Stanley as he is able to exclude her from power
through violence, and in doing so, it forces Stella to be subservient to him. Through Stanley’s
discourse, Stella’s low position of power in the marriage is made clear as he states that
‘‘‘Every Man is a King!’’’13 and, ‘I am the king around here, so don’t forget it!’.14
Highlighting that defying him will not result in her gaining more power, but adversely losing
it. Stella therefore, stays subservient due to his use of harsh tone. His tone is recognized in the
discourse to be brutal as many exclamation marks are used to enhance his sense of power in
their marriage. Finally, through the use of weak discourse and actions, Stella’s position in her
marriage is presented to be powerless and subservient to Stanley. The use of discourse

9
“A Streetcar Named Desire”, 1887.
10
“A Streetcar Named Desire”, 1888.
11
“A Streetcar Named Desire”, 1854.
12
Buchanan, Ian. A Dictionary of Critical Theory. 2nd ed. 243. Oxford: Oxford University Press, 2010.
13
“A Streetcar Named Desire”, 1891.
14
“A Streetcar Named Desire”, 1891.
 3

manifests the power imbalance in dynamic that allows for a hierarchal positioning in
marriage. Further dictating the ideology of their patriarchal marriage.

In summary, the ideology of a patriarchal marriage is realised throughout the play.

The use of discourse and action is shown in Stella’s character to be weak, subservient and, in
a low position of power. Stanley’s discourse reveals the imbalance of authority further
enhancing the patriarchal position he has over her.
 4

Bibliography
Barry, Peter. Beginning Theory: An Introduction to Literary and Cultural Theory. 4th ed. 184.
Manchester: Manchester University Press, 2017.
Williams, Tennessee. “A Streetcar Named Desire” In The Norton Introduction to Literature.
13th edition. Edited by Kelly J. Mays, 1843-1909. New York: W. W. Norton &
Company, 2019.
Buchanan, Ian. A Dictionary of Critical Theory. 2nd ed. 505. Oxford: Oxford University
Press, 2010.

Word count: 825