Power is the underlying current that runs through both Webster's "The Duchess of Malfi," a 17th-century revenge tragedy, and Williams' “A Streetcar Named Desire,” a modern 20th-century domestic tragedy. Both plays offer vivid depictions of power's tendency to corrupt, a corruption that often leaves women at the bottom of the social hierarchy, with little or no authority. Men's desire for control renders female characters powerless against their authority, for fear of being punished if they retaliate. However, women are also depicted as powerless over their own desires and psychological states, a theme that, interestingly, is more prevalent in Streetcar than in Malfi. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get an original essay Both Williams and Webster use symbolism and plastic theater to evoke a compelling sense of female powerlessness. Julia naively “kisses” the cardinal’s “poisoned” bible, then quickly dies. The cardinal's servants made their exit before this particular action took place, leaving the cardinal and the minor character Julia isolated at center stage. These proxemics ensure that the couple is in the spotlight, but, more importantly, highlight Julia's lack of power, as her ability to receive help from others is now completely non-existent. Historians have noted the popular Jacobean stereotype of Italians as vengeful and bloodthirsty, and the juxtaposition of the insurmountable figure of the cardinal over his diminished concubine illustrates this, while also being a prominent display of masculine prowess, hence feminine weakness. The pathos over Julia's tragic demise and physical helplessness may be felt by the audience, but the surprise will not, as violent death is a prevalent theme throughout the revenge tragedy genre - and depicts in this case the Machiavellian resentment of the cardinal. The grim satire of the scene can only be fully appreciated by a Jacobean audience, who understand the "poisoned bible" as an attack on the Catholic revival. Protestant Britain responded to the Catholics' failed bombing of Parliament (1605) with resentment and genuine fear, so this crude mockery would have been more than welcome. The prop also reveals that even faith (a virtue generally perceived as pure) is powerless in Malfi's corrupt society, where high-status men ultimately dictate what is good or bad, leaving little political power to the women, who have to endure anything. the dogma was decided. While the main cause of Julia's impotence is the displeasure of male superiors, Stella's impotence and lack of authority can be blamed on her own wishy-washy mind and fear of the past, which roots her to the New Orleans. However, it would be wrong to say that there is no male domination over Stella: while Julia is never allowed to rise above her mistress status, Stanley "pulls" Stella from the "pillars » from her Southern Belle status to her own social class. , demonstrating an inescapable power that forces him to adapt to his lifestyle. Williams also uses symbolism and plastic theater to emphasize Stanley's brutality and ultimately create a feeling of female helplessness: the radio accessory is "ripped off" by Stanley before "throwing" the instrument. out the window “with a shouted oath.” The words "ripped", "thrown" and "screamed" create a semantic field of brutal images, which exaggerates theStanley's sense of aggressive vigor and the machismo he is so eager to promote. This can be seen as an example of the "plastic theater" that Williams worked to develop in the 1940s. Williams felt that the visual and aural aspects of "A Streetcar Named Desire" should not be neglected for excessive dialogue, because both were equally important in communicating the psychological states of the characters to the audience, as well as developing the themes of the play. One could imagine Stanley (who, curiously, is also helpless to the masculine stereotype he must embody) shouting the "oath" with menacing relish, suggesting Stella's helplessness, as any apparent act of authority on his part could be greeted by a similar explosion of dangerous emotion. In this way, the prop not only acts as a prolepsy for Stanley beating Stella, but also for Blanche's tragic demise: the rape. The ironic destruction of the "radio" (an object often associated with music) by the philistine Stanley symbolizes Blanche's helplessness in the face of the working class lifestyle, as she is unable to orchestrate her "finer thinking" former English teacher in the house. This contrast in characters could be seen as a microcosm of the postwar class conflict between the emerging working class and the Old South, a civilization shaped by wealth and slave labor. The use of plastic theater also suggests that Stanley's powerful physique will never be overpowered by the physically weaker sisters, which quickly becomes a central theme. Through the characterization of Ferdinand, Webster also highlights a sense of apprehension for the female characters. The assertive “catch fire when I give fire” imagery immediately marks Ferdinand, like Stanley, as exhibiting a dangerous desire for control, a tendency that leaves the Duchess powerless due to her lower social status. However, although his incestuous passions ultimately sap the Duchess of all authority, while Stanley diminishes Blanche completely, Ferdinand himself is helpless in the face of his passions, which act as a vehicle for his crushing demise. Both playwrights use dialogue to draw attention to the theme of powerlessness. : the exclamation 'Yes, I was flirting with your husband Stella!' takes place directly after a congratulatory remark regarding Stella's pregnancy. The exclamation point suggests a register of ecstasy, evoking Blanche's thrill when she is still treated as desirable, joining the theme of passion evoked in the title and reminding Blanche of her sexual power. This could perhaps reflect postwar American society in which it was common for women, so precious in their youthful beauty, to be dismissed as mere objects after a certain age, when their beauty began to decline. Not only their appearance, but also their sexual purity would have been considered non-existent after this age. Blanche's eagerness to display her sexual authority is obvious - a pitiful attempt to reassure herself as much as Stella that the male ego is still something she can manipulate. The non-logical diversion from the previous topic of Stella's pregnancy suggests otherwise; a newborn would extend Stanley's lifestyle throughout his upbringing, leaving Blanche with no chance of rescuing Stella from her husband's abusive clutches. Alternatively, Blanche's reference to romantic dialogue with Stanley and unconventional engagement with Stella's pregnancy could evoke a sense of her own selfishness and power over Stella – an allusion to her presumed ease with which she could disrupt.