‘With close reference to the language, form and structure in Scene XI...explore the ways in which Williams evokes understanding and sympathy for Blanche’s character in "A Streetcar Named Desire".'

In the final scene of A Streetcar Named Desire, Williams introduces the audience to a Blanche duBois who, following her rejection from Harold Mitchell and rape by Stanley Kowalski, has become completely unhinged. Sympathy for Blanche from the audience is evoked through the way in which Eunice and her sister Stella behave around her, making active attempts to humour and soothe Blanche. But Williams’ evokes sympathy and understanding for Blanche in his characterisation of her - not only the deterioration of her sanity, but also her insecurity, dependence on Stella and discomfort with the presence of men in the house. Williams uses this portrayal of Blanche not only to contrast from her character seen in previous scenes prior to the rape (particularly in her fear of men when she used to glory in their attention), but more poignantly to remind the audience of the less savoury aspects of her previous self that have now been allowed to consume her in her unstable state; her insecurity and need for validation which is illustrated to be her hamartia throughout the play. An obvious change in Blanche’s character is her complete departure from sanity, particularly her delusions which were clear but fleeting previously in the play (usually made evident through the recurring Varsouviana), but are now almost continuous. One such delusion is Blanche’s assumption that the ‘visitor’ she is waiting for in this scene is her old college boyfriend, Shep Huntleigh. The first mention of him by Blanche comes when she asks after a call from ‘Shep Huntleigh…’. The ellipses add a dazed quality to her dialogue, as though her delusion has removed her from the present awareness of her conversation. The delusion of meeting Shep Huntleigh is significant as he is the only positive male presence left in Blanche’s life. He is ‘the gentleman [she] was expecting from Dallas’; the use of ‘gentleman’ emphasising the callousness with which she has been treated by Mitch and Stanley. More uncomfortable is the way in which her previously light fantasies (‘We are going to pretend that we are sitting in a little artists’ cafe on the Left Bank in Paris’) have turned morbid; ‘When I die, I’m going to die on the sea. You know what I shall die of?...I shall die of eating an unwashed grape…’ They are still somewhat whimsical, particularly the romantic image of the sea when she describes it as ‘an ocean as blue as...my first lover’s eyes!’ and the delicacy of dying from ‘eating an unwashed grape’. She describes being treated by ‘some nice-looking ship’s doctor, a very young one…’, and the audience is compelled to reflect on the harshness of male presence during her time at Elysian Fields and the tragic death of her husband. The loss of Blanche’s sanity is juxtaposed with the presence of the matron and doctor occurring later in the scene that has been anticipated through mention in the dialogue, their presence seeming oppressive in how Stella and Eunice try to disguise it; ‘I understand you are going on a trip.’ ‘Yes, Blanche is. She’s going on vacation.’