Scene One

• The play's exposition creates a gothic atmosphere with the explicitly detailed "atmosphere of decay" and consistent heir of instability with the "rickety" steps. However, Williams' poetic stage directions show lyricism within his descriptions presenting a romanticised view of poverty, with the "turquoise" sky reflecting the subtle beauty of the New America - an idea that is continued with the equipment of the "blue piano" engulfing the scene.
• Blanche speaks eloquently with lyrical construction, though her speech when interacting with other characters is much more hasty than her private soliliquies, presenting to the audience a secretive deceiving front as the reward of peace is most readily achieved with loneliness-precarious position of the Southern Belle, only exists, undisturbed, in solitude when the racist and classist structures supporting it are obscured. Link to the Old South, the beauty of its romanticism never existed in reality.
• Blanche's reliance on fantastical romanticism- Old South
• Her use of class as a weapon only becomes viable in the abstract- Old Southern values dissipated. ("Out there I suppose is the ghoul-haunted woodland of Weir!")
• Lament for the moths- Blanche embodies Williams' symbolism of moths. Moths become attracted to the light, causing their eventual demise.

  Williams actualises this with both Blanche's fragile characterisation and her "white suit" costume.
• "Her appearance is incongruous to the setting" -facade, concealment of deceit and stark class divide. Lack of personal social progression renders her isolated among the culture.

  Perhaps by demonstrating her "white" costume to be contrasted with the New American setting, Williams is insisting that Old Southern values more intensely value purity and that moral decay is rife among the New American population.
• "You're all I've got in the world"
• "The boy - the boy died"
• Old South, reluctance to communicate with people of lower classes orchestrates downfall in the multicultural New America.

  Else, the fear of lower classes becoming powerful negates opportunity for acceptance of modern values- historical values provided unshakeable isolation and therefore protection from the threat of lower classes and the exposure of the detrimental effect upper classes had on the lives of the poor.

  Generational discontentment at the class divide pulsing through the lower class.
• "You're just as plump as a little patridge".
• Stella no longer needs to conform to Blanche's standards.

  Her change indicates this. Blanche's reproach at her appearance (partridge) demonstrates her stagnation in the past and her measurement of surrounding characters against archaic standards- her devices for judgement are rendered obsolete and so her status in New American society is deconstructed and renders her almost inferior to the lower class characters due to ignorance and inability to adapt.
• Stella moved on, evolved in body and mind, while Blanche is stagnated. ("I weigh what I weighed the summer you left Belle Reve")

  Potential parallel with Miss Havisham?
• Blanche fails to acknowledge potential for Stella's pregnancy -

  reluctance to accept Stella's progress beyond Blanche?

  Or feels Stella lowers herself to Breed with Stanley?
• She is encoumissed" followed by Blanche's laughter
• Blanche's disconnect with reality
• They both laugh again in the same way
• Stender moment of connection
• Stemming from shited nemiering in the Old South
• "You can't describe someone inlive in love with!"
• Relects her awareness of the differing opinions held by herself + her sister.
• Stanley's work clothes-enybody the industrialisation of New Orleans immediate gore to Blanche
• "bower and pride of a richly parthenet malle bind ameny. hens
• among hems - suggests his dominion over women, his methods of control very on the power held over women
• Stanley's, interaction with Blanche is reminiscent of interrogation
• Galassis meyority of speech and fails to comporm to they caymanos
• Old South concem that lower class nights = laver class priviledge.
• a red-stawell package "meat":"
• La desensitivity, end
• insists you quicharity + intindey between himself and his wife,
• "dealing involuntarily back from his shung" - Blanche
• Sties always, from Stanley's commanding presence, fecering nice animowed on a meus of lower class mare
• Scene engils with stamity commanding Blanche's vulnerability
• Lo to continue to averluse characters and evancine how Williams ises dramatic divas to engage the audience in Scene one
• The plan's operaica dialeque features supial de between fanta churaclans with the aestitional charm of humour and interpersonal sanillianty, seanilessly nicolag the ragash chain punctuating the atmosphere of decay outlined in the exposition. This cans calles Williams capose the remanation widen among the conic setting en in broer to allenate blarake van he arrival as an impasik figure who may not blend with the multitude of charactants apparent to her as she curves.
• Blanche's obvious removal from this blended, societer gives a aveciter impression upon the audience as she cratesa janing contrast from me hebrovenians native of the plays Maracters and the antisho Unite Graday's Rocposition with the benating of dramatic devices like fighting, sound, and set.
• Stella converges with Blanche throughout scene 1 (Anty) Hanks.
• in the face of feetings
• Action verb
• Key quote
• • I won't be