A Streetcar Named Desire Final Scene

Scene eleven (in some editions it is labeled as Act III Scene Five) of A Streetcar Named Desire takes place a few days after Blanche DuBois was raped by Stanley Kowalski. In between scene ten and eleven, how has Blanche processed the sexual assault? It seems that she has told her sister, Stella. however, having returned from the hospital with her first born child, and being fully aware that Blanche has become mentally unstable, Stella has chosen not to believe her story. Miss DuBois Is Being Sent Away Blanche still clings to fantasy, telling others that she is expecting to go away on a trip with her wealthy gentleman friend. During the last few days, Blanche has probably been maintaining her frail illusions to the best of her ability, staying hidden as best she can in the spare room, trying to hold onto what little privacy she has left. How has Stanley been behaving since the rape? The scene begins with yet another macho poker night. Stanley demonstrates no regret, no transformation -- his conscience seems a blank slate. Stella is waiting for a psychiatric doctor to arrive and take Blanche away to an asylum. She contemplates with her neighbor Eunice, wondering if she is doing the right thing. She refers to ​Blanches rape: Stella: I couldnt believe her story and go on living with Stanley! (Breaks, turns to Eunice, who takes her in her arms.) Eunice: (Holding Stella close.) Dont you ever believe it. Youve got to keep on goin honey. No matter what happens, weve all got to keep on going. Blanche steps out of the bathroom. The stage directions explain that there is a tragic radiance about her. The sexual assault seems to have pushed her further into delusion. Blanche fantasies (and probably believes) that she will soon be traveling on the sea. She imagines dying at sea, killed by the unwashed grape from the French Market, and compares the color of the ocean to that of her first loves eyes. The Strangers Arrive A psychiatric doctor and nurse arrive to take Blanche to a hospital for mental patients. At first, Blanche thinks that her wealthy friend Shep Huntleigh has arrived. However, once she sees the strange woman she begins to panic. She runs back into the bedroom. When she claims to have forgotten something, Stanley cooly explains, Now Blanche -- you left nothing here but split talcum and old empty perfume bottles, unless its the paper lantern you want to take with you. This suggests that Blanches entire life offers nothing of lasting value. The paper lantern is a device she has used to shield her looks and her life from the harsh light of reality. One last time, Stanley shows his addict disdain for her by tearing the lantern off of the light bulb and casting it down. Blanche grabs the lantern and tries to run away, but she is grappled by the nurse, and then all hell breaks loose: Stella screams and pleads for her sisters well-being.Eunice holds Stella back.Mitch, blaming the situation on his friend, attacks Stanley.The doctor enters and eventually calms Blanche (and everyone else). After looking at the kind doctor, Blanches demeanor changes. She actually smiles and says the plays famous line, Whoever you are - I have always depended on the kindness of strangers. The doctor and nurse lead her from the apartment. Stella, still wracked with mixed emotions, calls to her sister, but Blanche ignores her, perhaps now forever lost in her illusions. The Films Ending Vs. The Plays Final Moments It is important to note that in the Elia Kazan film, Stella seems to blame and reject Stanley. The movie adaptation implies that Stella will no longer trust her husband, and might actually leave him. However, in Tennessee Williams original play, the story ends with Stanley taking his sobbing with into his arms and soothingly saying: Now, honey. Now, love. The curtain falls as the men resume their poker game. Throughout the play, many of Blanche DuBois words and actions denote her revulsion of truth and reality. As she often states, she would much rather have magic, much rather live a fanciful lie rather than deal with the ugliness of the real world. And yet, Blanche is not the only delusional character in the play. Delusion and Denial During the final scene of A Streetcar Named Desire, the audience witnesses Stella adopting the delusion that her husband is trustworthy, that he did not, in fact, rape her sister. When Eunice says, No matter what happens, weve all got to keep going, she is preaching the virtues of self-deception. Tell yourself whatever you need to in order to sleep at night, in order to carry on with each day. Mitch adopts the delusion that Stanley is the only one responsible for Blanches undoing, eschewing any moral responsibility. Finally, even Stanley himself, the masculine character who prides himself on being down-to-earth, at facing life for what it is, falls prey to delusions. For one, he has always been more than a bit paranoid about her intentions, believing that Blanche has been trying to usurp him from his role as king of his castle. Just before raping Blanche he declares, Weve had this date with each other from the beginning, implying that Blanche has complied with the sexual act -- another delusion. Even in the last scene, while witnessing Blanches mental frailty in all its pathos, Stanley still believes that he has done nothing wrong. His powers of denial are stronger than that of Blanche DuBois. Unlike Stanley, she cannot skirt regret and guilt; they will continue to haunt her no matter how many illusions (or paper lanterns) she creates.