Masculinity, particularly in Stanley, is linked to the idea of a brute, aggressive, animal force as well as carnal lust. His brute strength is emphasized frequently throughout, and he asserts dominance aggressively through loud actions and violence.
Even his clothing is forceful: he dresses in bright, lurid colors. Stanley’s masculinity is deeply connected to the “sub-human.” Williams describes him as a “richly feathered bird among hens” and a “gaudy seed-bearer.”
Stanley asserts his masculinity physically as well as psychologically. Physically, he bellows in a sort of animal mating call at Stella. He also forces himself upon Blanche.
Psychologically, he investigates Blanche’s sordid past and brings it into the limelight, airing Blanche’s dirty laundry to affirm his position as not only the alpha male but also the head of the household.
Yet although Stanley is aggressively animal in his male nature, his masculinity also asserts itself in his response to the feminine. He has tender responses to Stella’s pregnancy; his tone shifts suddenly both when he breaks the news to Blanche and when Stella tells him that she is in labor. He also breaks down when Stella leaves him after he hits her.
Stanley is a prime specimen of manhood, but he is not a gentleman. Stanley represents the powerfully attractive but powerfully frightening threat of masculinity, whereas Mitch represents masculinity as a trait of comfort and refuge.
If Stanley is the alpha male, Mitch is a beta male: still a masculine force, but not asserting the same kind of physical dominance over the space.
But Mitch still finds his power through physical assertion. Mitch brags about his body to Blanche and insists on his precise measurements (six foot one, two hundred seven pounds).
Even though Mitch isn’t as violently male as Stanley, he is just as imposing a physical specimen. Blanche sees Mitch as male enough to radiate a carnal attractiveness, but not physically or psychologically dangerous in the way that Stanley is.