Overview of the Tragic Genre

Tragic Conventions

A Streetcar Named Desire is an example of a modern dramatic tragedy. Here are some conventions from Classical tragedy:

High-class characters

In the past (particularly in the Greek and Roman Classical period, and in the Age of Shakespeare), tragedies often present the fall of high-status characters: for example, Kings, Emperors, Princes or Generals.

Status

The idea was that with a high-status character, they have so much further to fall than a lower status character.
In effect, they have more to lose, whether it is their reputation, a love, respect, command or power.

Tragic flaw

The general idea is that one or more of the characters have a tragic flaw (something in their make up or character) that is problematical.
Usually, another character (often a tragic villain) tries to find weakness or the main character’s flaw, and aims to exploit that.

Spiral of tragedy

Once that tragic flaw has been identified, then very often the main character steps into a spiral of tragedy which they find it difficult to escape from.
They tend to blame everyone else but themselves.

Tragedy

In most tragedies, chaos results because the main character makes a set of poor decisions.

Chaos

Chaos results because the main character makes a set of poor decisions.
These decisions not only impact upon the character themselves but also wider society and other characters around them.
The chaos reaches its climax when something happens which is impossible to change.

Remorse

Only then does the main character reflect on what they have done, and they gain insight into their experiences.
They are usually filled with remorse and are either killed by a heroic figure or kill themselves because they can no longer face what they have become.

Society

Once this character has been dispatched or removes themselves from events, only then can the wider society rebuild itself.

1Context & Overview

1.1The Author

1.1.1Tennessee Williams

1.2Social Context & Setting

1.2.1Social Context

1.2.2Social Issues

1.2.3Setting

1.3Tragedy

1.3.1Overview of the Tragic Genre

1.3.2Modern Domestic Tragedy

1.3.3End of Topic Test - Author, Context & Tragedy

2Scene Summaries

2.1Scene One

2.1.1Scene One: Summary

2.1.2Scene One: Tragedy Ideas

2.2Scene Two

2.2.1Scene Two: Summary & Tragedy Ideas

2.2.2End of Topic Test - Scenes One-Two

2.3Scene Three

2.3.1Scene Three: Summary & Tragedy Ideas

2.4Scene Four

2.4.1Scene Four: Summary & Tragedy Ideas

2.4.2End of Topic Test - Scenes Three & Four

2.5Scene Five

2.5.1Scene Five: Summary & Tragedy Ideas

2.6Scene Six

2.6.1Scene Six: Summary

2.7Scene Seven

2.7.1Scene Seven: Summary & Tragedy Ideas

2.8Scene Eight

2.8.1Scene Eight: Summary & Tragedy Ideas

2.8.2End of Topic Test - Scenes Five-Eight

2.9Scene Nine

2.9.1Scene Nine: Summary & Tragedy Ideas

2.10Scene Ten

2.10.1Scene Ten: Summary & Tragedy Ideas

2.11Scene Eleven

2.11.1Scene Eleven: Summary & Tragedy Ideas

2.11.2End of Topic Test - Scenes Nine-Eleven

3Character Profiles

3.1Blanche DuBois & Stanley Kowalski

3.1.1Blanche DuBois - The Past & Illusions

3.1.2Blanche DuBois - Relationship with Men & Breakdown

3.1.3The Dynamic Between Blanche & Stanley

3.1.4End of Topic Test - Blanche & Stanley

3.2Stella Kowalski & Harold Mitchell (Mitch)

3.2.1Stella Kowalski

3.2.2Harold Mitchell (Mitch)

3.3Minor Characters

3.3.1The Hubbels & Other Characters

3.3.2End of Topic Test - Stella, Mitch & Others

4Key Ideas

4.1Sex & Gender

4.1.1Sex & Desire

4.1.2Masculinity & Femininity

4.1.3End of Topic Test - Sex, Desire & Gender

4.2Appearances, Fantasy & Reality

4.2.1Outer & Inner Appearances

4.2.2Fantasy & Reality

4.2.3End of Topic Test - Appearances, Fantasy...

5Writing Techniques

5.1Structure

5.1.1Structure & Stage Design

5.1.2Linking Devices

5.1.3Recurring Motifs

5.2Genre, Form & Language

5.2.1Genre

5.2.2Form & Language

5.2.3End of Topic Test - Writing Techniques

6Critical Debates

6.1Early & Modern Reception

6.1.1Interpreting Blanche & Self-Pity

6.1.2Contemporary & Modern Reviews

6.2Feminist, Psychoanalytic & Marxist Approach

6.2.1Feminist Approach

6.2.2Psychoanalytic Approach

6.2.3Marxist Approach

6.2.4End of Topic Test - Critical Debates

7Ideas About Tragedy

7.1Ideas About Tragedy

7.1.1Tragic Ideas & Villain

7.1.2Tragic Structure & Language

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