Scene 1_Analysis

The first part of this scene introduces us symbolically to the essential characteristics of
Stanley Kowalski. He enters in a loud-coloured bowling jacket and work clothes and is
carrying "a red-stained package." He bellows to Stella and throws her the raw meat which
she catches as she laughs breathlessly. The neighbours laugh over the package of bloody
meat — an obvious sexual symbol which depicts Stanley in the same way as Blanche later
describes him to Stella: He is a "survivor of the stone age! Bearing the raw meat home from
the kill in the jungle; and you — you here — waiting for him." This scene, therefore, shows
Stanley as the crude and uncouth man. The scene also sets a tone of commonplace brutality
and reality into which the delicate and sensitive Blanche is about to appear.
When Blanche says that she took a "streetcar named Desire, and then . . . one called
Cemeteries," Williams seems to be implying that desire leads to death which is then an
escape to the Elysian Fields. But ironically, in terms of the play, the streetcar leads her to the
French Quarter which is certainly no Elysian Fields.
Notice that Blanche is described as wearing white and having a mothlike appearance.
Williams often dresses his most degenerate characters in white, the symbol of purity.
Blanche's dress hides her inner sins and contributes to her mothlike appearance. Her actions
also suggest the fluttering of a delicate moth. And as a moth is often attracted by light and
consequently killed by the heat, later we will see that Blanche is afraid of the light and when
Mitch forces her under the light, this act begins Blanche's destruction.
Note the symbolic use of names throughout the play. Blanche DuBois means white of the
woods. The white is a play on Blanche's supposed innocence, Stella's name means star. The
name of the plantation home was Belle Reve or beautiful dream — thus the loss of Belle
Reve is correlated with the loss of a beautiful dream that Blanche once possessed.
In the first meeting between Stella and Blanche, Blanche tells Stella to "turn that over-light
off!" This is a first reference to Blanche's aversion to too much light. It correlates with her
moth-like appearance and will later develop into one of the controlling motifs throughout the
play. Her fear of light will be seen to be connected with the death of her first husband and her
fear of being too closely examined in the cold, hard world of reality. She prefers, instead, the
dim, illusionary world of semi-darkness.
A key to Blanche's character is given to us in this first scene by her reliance upon and need
for whiskey. Then later when Stanley asks her if she wants a drink, she tells him that she
rarely touches it. Here then is an example of Blanche's inability to tell the truth and her desire
to be something different from what she actually is.
Blanche's emphasis that she can't be alone suggests that she is at a point of desperation at
the opening of the play. She has absolutely no place to go and no one to turn to or else she
would not be here in these surroundings. Her explanation of how Belle Reve was lost and
her recounting her frequent encounters with death serve in some ways to account for
Blanche's present neurotic state.
The reader should be especially aware of Williams' description of Stanley. "Animal joy in his
being is implicit in all his movements." This is the opposite of the delicate and ethereal
Blanche. Furthermore, the "center of his life has been pleasure with women." He is the
"emblem of the gaudy seed-bearer." He takes pride in everything that is his. Thus part of the
later conflict is that Blanche can never in any sense of the word be his. She lives in his
house, eats his food, drinks his liquor, criticizes his life, and so forth, but she is never his.
Essentially, the play can be read as a series of encounters between the Kowalski world and
the Blanche DuBois world. Each of these encounters will intensify with each subsequent
meeting. The first encounter occurs at the end of Scene 1. The overly sensitive Blanche must
introduce herself to Stanley, who immediately offers her a drink after he notices that the
bottle has been touched. He takes off his shirt and makes a shady remark to Stella, who is in
the bathroom. He then asks Blanche some pointed questions which end with an inquiry
about her earlier marriage. By the end of the first encounter, Blanche is feeling sick. Thus,
Stanley's rough, common, brutal questions end by hitting on the most sensitive aspect of
Blanche's past life — her marriage with the young boy. Stanley's animalism almost destroys
Blanche's sensibilities even in this first meeting. Thus the conflict is between the
oversensitive aristocratic world of Blanche and the brutal, realistic, present-day world
represented by Stanley.
 The play opens with one of Williams’
lengthy, poetic stage directions. He
describes the street scene of Elysian
Fields, in a poor area of New Orleans. New Orleans is established as an exciting context,
emblematic of a country in transience, in the midst of progression. Despite the
mention of poverty, Williams focuses on the beauty of the scene. This kind of balance
between the grotesque and the lyrical sets the tone for the poetic urban
lyricism at the heart of the play. He describes the “blue piano” that can be heard
through the streets as a symbol for the spirit of the area. This musical motif, an
example of plastic theatre, recurs throughout the play, usually during moments of passion.

● Williams associates the music at this point with “Negro entertainers”. He also makes
a point of highlighting the racial diversity of the city within this initial paragraph,
claiming that it’s a place “where there is a relatively warm and easy
intermingling of races”.

● Stanley and Mitch enter the scene, having a casual conversation. They’re immediately
visually coded as laid back, working class men. Stanley carries a red stained package from
the butchers, associating him from the start with a sense of primalism and
animalism. He calls up to Stella, who comes out, and is introduced as “gentle”. Williams
establishes immediately that Stella is “of a background obviously quite different
from her husband’s”, introducing the theme of social class. He heaves the
package at her, again establishing this sense of primal masculinity.

● We are then introduced to Blanche. She comes around the corner carrying a valise, in
apparent confusion and “shocked disbelief” at where her sister has ended up.

● Eunice helps Blanche into Stella’s apartment. They have a brief conversation in the
apartment, wherein Eunice tries to get to know Blanche. She has a friendly demeanor,
asking Blanche about her career as a schoolteacher, but Blanche asks to be left alone.
It’s worth noting yet another reference to race, with Eunice’s casual mention of “the
Mexicans”, which she is clearly much more comfortable with than Blanche. Eunice
mentions Belle Reve, calling it the plantation and making the audience aware of
the implications of Blanche and Stella’s money. It is quickly established that it
is old Southern money built on slavery.

● Blanche is left visually uncomfortable, unsure what to do with herself in such an alien
space. She spots a bottle of whiskey in the closet and takes a shot.
● Stella arrives, and we see our first interaction between the two sisters, with Blanche’s
anxious rambling leaving Stella relatively quiet. Blanche says that she’s going to
look for some liquor. This is an important use of dramatic irony, as the
audience is aware that Blanche knows where the liquor is, and has helped
herself to some already. The audience is therefore introduced to this theme of
deception. The fantasy that Blanche lives in requires a glossy appearance, and her
alcoholism undermines the purity she tries to put across. The fact that her first
lie is about drinking is incredibly important, as it establishes the idea that
Blanche is ashamed of her mental distress. This internal demonisation of her
own coping mechanisms, reflect her adherence to a strict idea of what a
woman should be, which has been ingrained in her by a bourgeois upbringing.

● Blanche heavily criticises the apartment, expressing her shock and worry that her sister
“has to” live in these conditions. Stella is clearly slightly offended, saying it isn’t that bad.

● They go on to talk about why Blanche decided to leave the school. She blames it on her
‘nerves’- we later learn this is a lie. The discussion about Stanley between the sisters
occurs after this. This is a key moment, as it lets the audience know that Stanley is an
immigrant, something which affects how we see his social status. Moreover, Blanche’s
reaction establishes further differences between the two reinforcing that their
ideologies are incompatible. The fact that Stella laughs along with this is also worth
noting - Stella is a mediator, she has a lot of love for both Stanley and Blanche, being
unable to fully comply with either ideology. Despite her love for Stanley, she is still
shaped by her bourgeois upbringing, and will still mock his status as an
immigrant when around a character that puts her back into that context. This
becomes a point of tension between Stella and Stanley later in the play.

● Blanche veers the conversation toward the loss of her family home, which descends into a
nervous episode, where she expresses a level of resentment towards Stella. She accuses
her of leaving Belle Reve behind, saying that she stayed and “fought for it, bled for it,
almost died for it”.

● The music from the blue piano grows louder, expressing an increase in tension.
Talking about Belle Reve leads Blanche into an anxious speech about the deaths of her
family. The conversation brings Stella to tears.

● When Stella goes into the bathroom to wash her face, there’s a tonal shift as the men
come jeering down the street, back from bowling. Stanley walks into the apartment.

● The interaction that follows is relatively casual and awkward at most. The two get
acquainted. However, the tone shifts again when he mentions her past marriage. We find
out that Blanche’s husband died and this traumatic memory causes her to feel physically
sick, reminding us again of Blanche’s fear of death, decay and loss.
 ● At the end of this scene, we hear polka music for the first time. This music will be
continuously associated with Blanche’s traumatic flashbacks and mental
descent.

Key Quotes:

“They told me to take a streetcar named Desire, and then transfer to one called
Cemeteries and ride six blocks and get off at- Elysian Fields!” - Blanche

- This is a key quotation because it allegorically expresses Blanche’s

journey through life so far. The streetcar named Desire introduces the
theme of sexuality, and points to its relevance in Blanche’s past. The
reference to Cemeteries illustrates the losses she has endured, and the
street where she has arrived, Elysian Fields, is named after the Greek
mythological land of the dead. This suggests ambiguous afterlife for
her in its simultaneous utopian diversity and seedy poverty, a mix
which leaves Blanche feeling out of place in her present setting,
clinging on to the past.
“She showed me a picture of your home-place, the plantation. A great big place with
white columns.” - Eunice

- This is the first time we understand that the Dubois’ wealth was built on
slavery. It therefore links the fall of Blanche and her family to the fall of
the Old South and the exploitative nature of the bourgeois way of life.

“What are you doing in a place like this?” -Blanche

- An expression of Blanche’s inability to understand Stella’s decision to

leave the past behind and embrace progression. This quote is burdened
with classism, and implies Blanche’s fear of poverty, as expressed
through her discomfort in her setting.

“You are the one that abandoned Belle Reve, not I! I stayed and fought for it, bled
for it, almost died for it!” -Blanche

- This is one of the first examples we get of Blanche’s desperation to cling

on to the past, and the extent to which this has been a personal
struggle for her.
“Animal joy in his being is implicit in all his movements and attitudes” - Williams’
stage direction

- This stage direction is key to keep in mind in relation to Stanley’s

character at all times- many of Stanley’s stage directions from this
point on take from this idea, using animalistic lexicon to imply his
primal masculine sexuality and force.
How is Scene 1 of A Streetcar Named Desire made memorable, especially in the
introduction of Stanley Kowalski and his initial interaction with Blanche?
Tennessee Williams’ opening scene of A Streetcar Named Desire is made memorable
through the contrast between Stanley Kowalski and Blanche DuBois, dramatic tension,
and evocative language that establishes their personalities and foreshadows conflict. The
introduction of Stanley is particularly striking, as Williams presents him as a dominant, primal
force, immediately juxtaposing him against the delicate and anxious Blanche.
Firstly, Stanley’s physical presence is established memorably through vivid stage
directions. Williams describes him as "roughly dressed in blue denim work clothes" and
a "richly feathered male bird among hens", portraying him as a hyper-masculine figure,
proud and dominant in his surroundings. The animalistic imagery in “male bird” highlights
his raw physicality and confidence, while his “rough” attire suggests his working-class
identity, reinforcing the social contrast with Blanche’s refined Southern
upbringing. This initial portrayal makes him an unforgettable character, as he exudes power
and virility.
Furthermore, Stanley’s first exchange with Blanche immediately establishes their
conflicting natures. When he first meets her, he bluntly asks, “You going to shack up
here?”, which is colloquial and direct, reflecting his straightforward, unfiltered personality.
Blanche, on the other hand, is visibly uncomfortable and responds with evasive and
nervous speech patterns, such as “I—I—rarely touch it” when denying her drinking
habits. The repetition of “I” suggests hesitation, exposing her dishonesty. This contrast in
dialogue heightens the dramatic impact of their first interaction, making it a compelling and
memorable moment in the play.
Moreover, Williams’ use of symbolism in Scene 1 reinforces Stanley’s impact. The setting
of Elysian Fields, meaning "paradise" in Greek mythology, is ironic because, for Blanche, it
is far from paradise—it is a gritty, working-class neighbourhood where she feels out of place.
Meanwhile, Stanley belongs in this world and dominates it, making Blanche’s arrival all the
more striking. This symbolic contrast between the two characters is established memorably
from the outset.
Overall, the memorable nature of Scene 1 lies in Williams’ dramatic contrast between
Stanley’s raw masculinity and Blanche’s fragile refinement, the evocative stage
directions, the symbolism of setting, and the tense dialogue that foreshadows their
eventual clash. Stanley’s initial interaction with Blanche establishes him as a force of
dominance, making his introduction one of the most striking moments in the play.
Symbolism and Imagery in Scene 1
Visual Symbolism
Tennessee Williams uses rich visual symbolism to convey deeper meanings and character
traits in Scene 1 of A Streetcar Named Desire.
1. Blanche's White Clothing
Symbolism: Blanche's white attire symbolizes her desire to appear pure and innocent,
contrasting with her hidden past.
2. Stanley's Meat Package
Symbolism: The "red-stained package from the butchers" Stanley carries represents his
raw, animalistic nature and foreshadows the violence to come.
3. The Kowalskis' Apartment
Symbolism: The cramped apartment with open windows and doors symbolizes the lack of
privacy and the forced intimacy between characters.

Auditory Symbolism
Williams also employs sound to create atmosphere and reveal character psychology.
1. The Blue Piano
Definition: The blue piano music represents the vibrancy and sensuality of New Orleans'
French Quarter.
2. The Polka Music
Highlight: Only Blanche and the audience can hear the polka music, symbolizing her
haunted memories of her dead husband.
Thematic Symbolism
1. Belle Reve
Vocabulary: Belle Reve, meaning "beautiful dream" in French, symbolizes the lost grandeur
of the Old South and Blanche's shattered illusions.
2. Streetcar Named Desire
Quote: "They told me to take a streetcar named Desire, and then transfer to one called
Cemeteries." Symbolism: This journey symbolizes Blanche's path from desire to death,
foreshadowing her tragic arc in the play.

Themes Introduced in Scene 1

Desire and Sexuality
Scene 1 of A Streetcar Named Desire immediately introduces the theme of desire, both as
a literal reference to the streetcar and as a driving force in the characters' lives.
Example: Stanley's description as a "gaudy seed-bearer" emphasizes his raw sexual
magnetism, contrasting with Blanche's more repressed sexuality.
The tension between desire and propriety is established, particularly through Blanche's
character, setting up one of the play's central conflicts.
Illusion vs. Reality
The contrast between appearance and truth is a key theme introduced in this scene.
Quote: Blanche says, "I rarely touch it," referring to alcohol, while her actions show
otherwise.
This discrepancy between Blanche's words and actions foreshadows the larger theme of
illusion versus reality that will unfold throughout the play.
Class and Cultural Conflict
The clash between the refined, aristocratic Old South (represented by Blanche) and the
working-class, multicultural New Orleans (embodied by Stanley) is established in Scene 1.
Highlight: Blanche's comment, "I'm afraid I'll strike you as the unrefined type," to Stella
indicates her awareness of the cultural divide.
This conflict sets the stage for the power struggles and misunderstandings that will drive the
plot forward.

Character Analysis: Blanche DuBois

Initial Portrayal
In Scene 1 of A Streetcar Named Desire, Blanche DuBois is introduced as a complex and
troubled character. Her initial portrayal paints a picture of a woman struggling to maintain her
composure and identity in a changing world.
Quote: "Her appearance is incongruous to the setting. She is daintily dressed in a white suit
with a fluffy bodice, necklace and earrings of pearl, white gloves and hat."
This description immediately sets Blanche apart from her surroundings, highlighting her
displacement and foreshadowing the conflicts to come.
Key Characteristics
1. Dependency on Alcohol
Example: Blanche's immediate search for alcohol upon arrival reveals her reliance on it to
cope with stress
1. Need for Flattery and Fear of Aging
Quote: "You see I still have that awful vanity about my looks," showing Blanche's
preoccupation with her appearance and youth.
2. Hints of a Troubled Past
Highlight: Blanche's evasive answers about Belle Reve and her teaching career suggest a
history she's trying to conceal.
Psychological Complexity
Blanche's character is layered with contradictions and internal conflicts:
 She presents herself as refined and proper, yet exhibits signs of alcoholism and
instability.
 Her need for admiration clashes with her apparent desire for a fresh start.
 The polka music only she can hear hints at unresolved trauma.
Analysis: Blanche's complex psychology sets the stage for her tragic arc in the play, as she
struggles to reconcile her idealized self-image with her reality.

Character Analysis: Stanley Kowalski

Introduction in Scene 1
Stanley Kowalski makes a powerful entrance in the first scene of A Streetcar Named
Desire, immediately establishing himself as a dominant and primal force in the play.
Quote: "Animal joy in his being is implicit in all his movements and attitudes. Since earliest
manhood the center of his life has been pleasure with women, the giving and taking of it, not
with weak indulgence, dependency, but with the power and pride of a richly feathered male
bird among hens."
This vivid description sets the tone for Stanley's character and his role in the play's conflicts.
Key Characteristics
1. Primitive and Sensual Nature
Example: Stanley's entrance carrying a package of raw meat symbolizes his animalistic
qualities and sexual magnetism.
1. Dominance and Aggression
Highlight: His cocky interactions with Blanche and commanding presence in the apartment
demonstrate his need for control.
2. Working-Class Background
Vocabulary: Stanley's Polish heritage and blue-collar job contrast sharply with Blanche's
refined Southern upbringing.
Symbolic Representation
Stanley represents the new, multicultural America, particularly the working-class ethos of
post-World War II society. His character embodies:
 Raw masculinity and sexuality
 The rejection of old-world gentility
 The pursuit of the American Dream through hard work and determination
Analysis: Stanley's character serves as a foil to Blanche, highlighting the clash between the
fading Old South and the emerging modern America.
Setting Analysis: New Orleans in Scene 1
Significance of New Orleans
The choice of New Orleans as the setting for A Streetcar Named Desire is crucial to the
play's themes and character dynamics. Scene 1 establishes the city's unique atmosphere
and its role in the unfolding drama.
Quote: "The section is poor but, unlike corresponding sections in other American cities, it
has a raffish charm."
This description sets New Orleans apart as a place where different rules apply,
foreshadowing the conflicts to come.
Key Aspects of the Setting
1. Multicultural Environment
Highlight: New Orleans is described as "a cosmopolitan city where there is relatively warm
and easy intermingling of races," contrasting with the segregated Deep South.
2. Sensual Atmosphere
Example: The "Blue Piano" music mentioned in the stage directions evokes the city's
vibrant, sensual culture.
1. Vocabulary: Elysian Fields, the street where the Kowalskis live, ironically named
after the mythological paradise, emphasizes the contrast between illusion and reality.
Symbolic Elements
1. The Kowalskis' Apartment
Symbolism: The cramped living space with open windows and doors represents the lack of
privacy and the forced intimacy between characters.
2. The Streetcar Named Desire
Quote: "They told me to take a streetcar named Desire, and then transfer to one called
Cemeteries." Analysis: This journey symbolizes Blanche's path from desire to death,
encapsulating her tragic arc in the play.