‘The Male dominance featured in literature results from patriarchal society’s and invariably leads to conflict.’ To what extent do you agree that conflict is a product of a patriarchal society in’ The Colour Purple’, ‘The Street Car Named Desire’ and ‘The Glass Menagerie’?

‘The Male dominance featured in literature results from patriarchal society’s and invariably leads to conflict.’ To what extent do you agree that conflict is a product of a patriarchal society in’ The Colour Purple’, ‘The Street Car Named Desire’ and ‘The Glass Menagerie’?

Both Alice Walker’s novel ‘The Colour Purple’ and Tennessee Williams plays ‘A Street Car Named Desire’, 1947 and ‘The Glass Menagerie’, 1945 controversially feature examples of male dominance and the conflict that arises for the female protagonists as a result of inequality. ‘The Colour Purple’, 1982 (‘TCP’) portrays the struggles that women dealt with in 1930’s rural Georgia. It depicts how the female protagonists attempt to gain recognition as individuals who deserved fair and equal treatment to men. However, Alice Walker presents male dominance as the norm, the ‘men’s ’pose to wear the pants’ and dominate their physically weaker wives, who are deemed as inferior. Throughout the novel male domination takes various forms not least of which is sexual aggression, which is what Stanley similarly  uses in order to ultimately dominate Blanche in ‘Streetcar’ triggering  her emotional and mental ruin. Indeed, some feminist critics have attacked Tennessee Williams for portraying his female characters as ‘victims and losers’[1].Laura Wingfield in ‘The Glass Menagerie’ (‘Menagerie’) is weak and delicate, a ‘Blue Rose’ which is symbolic of her being uniquely beautiful but unable to thrive in the real world. As a feeble female character she has no choice but to rely on men; in the absence of her father Tom her brother the breadwinner of the household.

‘TCP’ graphically depicts the violence and sexual subjugation that many black women endured during the 1930’s and has been banned multiple times for its inappropriate indecency. Walker received abuse by many African-Americans when it was first published in 1982 and its reception damaged her relationship with her husband. Controversy has subdued 25 years later and the novel is now considered to be a celebratory piece of literature, critics have stated that ’TCP’ ‘is as disturbing as it is exhilarating’[2]. ’You gonna do what your mammy wouldn’t .First he put his thing against my hip and sort of wiggle it around. Then he grabs hold of my titties’; Alice Walker clearly does not cower away from the harsh realities of life. The graphic language used causes shock and immediate pathos and sympathy for Celie. On the other hand, the abuse that occurs when Stanley beats Stella in ‘Street Car’ it is not graphically portrayed. Instead Tennessee Williams implies the abuse by using the ’sound of a blow’ and Stella’s reaction of ‘cr[ying] out’ which aids to a dramatic impact upon a live audience. The abuse is prompted by conflict; Stella wants Stanley to end his Poker party and he resist as a dominant male, she then retaliates by calling him a ’drunk, drunk animal thing’ and challenges his male authority. Tennessee Williams ironically presents Stanley as he acts like a savage animal and attacks his wife. A modern audience would be more shocked by Stanley’s outburst as such behaviour is considered unacceptable today as there is more support to protect women from abuse. However, Tennessee William’s contemporary 1940’S audience would have expected this behaviour as a product of the patriarchal and sexist society they lived in.

The first person narrative used in ’TCP’ the epistolary novel allows the reader direct insight into Celie’s situation. Her entries are brazen and with the use of colloquial and vulgar language, ’a little baby come out of my pussy’; It is shameless, and privately presents the reader with an honest depiction of her life. Celie’s thoughts are written in the vernacular with poor grammar which truly reflects that Celie is an uneducated black woman from the American South. Alice Walker comments that she could not write in Standard English because ‘that would be recognised to be spoken by the white people that oppressed the black people in the south’[3]. In the South, women were subjugated and it was an area in America that was rife with racism. This coincides with the racism briefly mentioned in ’Menagerie’ and ‘Streetcar’ by  Amanda and Blanche  who are both Southern Belles, rich women who lived pampered lives from the Old South; their families  would  have  gained their wealth due to slaves labouring on their plantations. Blanche refers to the ‘coloured girl’ when she is nostalgic about her past and Amanda uses the terms ’nigger’ and ‘darky’. This language is considered derogatory by a modern audience because racism is not tolerated, whereas to a 1940’s audience it would have been more acceptable; slavery was abolished yet many people were still very ignorant. Furthermore, there were few educational opportunities for black people, especially women who were evidently considered to be inferior and had limited prospects in life. They were heavily reliant on marriage at a young age often to men who were abusive and violent. The letters that Celie addresses to ‘God’ function as a journal where she is able to vent her feelings; ’I jump when Mr___ call me’ this also reveals her inner conflict caused by male domination. Women were voiceless and silenced about the abuse that they suffered and were expected to passively accept what was happening to them; hence her letters are her only means of expressing herself.

Walker’s character Sofia juxtaposes Celie’s vulnerability against male domination and conflict. Sofia is a ’big strong, healthy girl’. Harpo her husband becomes insecure because he realises that he cannot control his wife. The conflict that arises between them is because he has been indoctrinated by his father to believe that all ‘woman’s s’pose to mind’. Instead Sofia stands up for herself and ‘talks back’. Sofia’s resistance hurts Harpo’s pride which reflects that during the 1930’s rural Georgia black men were expected to take charge by instilling fear into their wives, forcing them into submission. Sofia refuses to conform to the normal female expectations and a power struggle occurs ‘they fight like two men’s, she is determined that she would rather ‘kill him dead before [she] let him beat [her]’. Similarly, Stella in ‘Streetcar’ challenges patriarchal society when she initially flees after being beaten by Stanley and she holds momentary power as she casually slips down the stairs. The stage directions describe that Stanley is ‘falling to his knees’; she then physically stands over him so that she holds the power. Furthermore, Stanley is described as being as good as a lamb, an animal that is feeble this implies that Stanley genuinely appears repentant. By forgiving Stanley, Stella forfeits the power she has had over him as she passively allows him to carry her like a child back to the apartment.

[4]Feminine critics are especially appalled by Stella’s easy acceptance of spousal abuse. This is not a fair criticism because Williams was not interested in a political agenda, he ensures that we still feel sympathy for Stella because when Eunice ‘places the child in her arms’, this indicates that Stella’s life is ‘mapped out for her’. Williams wrote most of his plays long before the modern wave of feminism had defined its position on such issues. He never prescribed behaviour for his female characters; he was describing the behaviour he had witnessed.  In ‘TCP’ Celie sees spousal abuse as normal, ’he beat me like he beat the children’. This demonstrates the lack of respect that men displayed against women. Celie’s fear of men causes her to avoid conflict with them, ’I don’t even look at men.’ Walker employs the theme of fear in Celie letters as she never refers to her husband by name but instead as ‘Mr___’ this portrays her detachment and lack of respect that she secretly feels reflecting her inner conflict. Amanda on the other hand, ‘Menagerie’ attempts to fight for a sense of equality in a patriarchal society and conflict occurs. In addition, Amanda is presented as an ‘antagonist’ from the outset who nags her son Tom, almost in place of her absent husband. Tennessee Williams uses an expressionist theatre technique by symbolically referencing colour such as a ‘turgid smoky red glow’ and ‘gesticulating light’. This symbolically depicts the animosity and the intensity of the conflict between them and portrays to the audience the power struggle occurring between the breadwinner and the mother. Even though she is a female she is attempting to assert her authority as a parent.

On the other hand, Tennessee Williams generally portrays Stella in ‘Streetcar’ as a stereotypically submissive woman. She is dependent on Stanley, ‘when he comes back I cry on his lap like a baby’ and in the stage directions Stella ‘smiles to herself’. This shows that she enjoys the physical intimacy and being the inferior woman dependant and fragile just like a baby. Similarly, Tennessee Williams presents Laura, ‘Menagerie’ as a fragile woman by employing expressionist techniques .The lighting used focuses on Laura and isolates her on stage capturing the essence of her vulnerability and purity. Furthermore, Stanley is the Alpha male in ‘Streetcar‘ and the stage directions describe  that ’Stanley gives a loud whack of his hand on[Stella’s] thigh’ this aggressive sexual conduct is done in front of the other men intentionally  embarrassing Stella confirming  that he is in control. At this point she passively accepts the situation. Tennessee Williams reflects that traditional women had few choices; a woman expected to be a good wife, protected and faithful; or a good mother who was loving and wise. This is depicted when Blanche tells Stella that Stanley  has raped her she says ‘I couldn’t believe the story and go on living with Stanley ’.Williams leaves this ambiguous: on the surface it may seem that Stella believes Stanley’s lies but perhaps deep down she may suspect him but instead remains ‘practical’. Life as a single mother was hard; Amanda ’Menagerie’ is a strong single mother; a lot of stigma surrounded this and financially life would have been difficult during ‘The Great Depression’. Women were expected to keep their husbands satisfied and at home otherwise they were considered to be failures. Whereas a modern audience would be more understanding regarding Amanda’s situation because single parent families are a lot more common.

According to Tina Fey,[5]‘Male authors place their female characters into silenced positions where they are powerless to help themselves and are dependant or subjugated to the actions of men’. This is true for Laura who is convinced by her mother that she must marry so she involuntarily becomes reliant on the idea of a ‘Gentlemen Caller’. Society’s pressure for young women to get married during the 1930’s is expressed when Laura nervously answers the door; tension is built as ‘low drums are sound’ this ominous sound reflects Laura’s immediate panic. Furthermore, the symbol of shattering glass is prominent in the play and reflects how male dominance has a negative impact on Laura’s life. The glass breaks on two different occasions in the play, after Tom argues with Amanda he slams the door causing some of Laura’s menagerie to break. Laura immediately appears ‘wounded’ this shows how vulnerable and reliant she is on Tom. It is the first realisation that Tom will leave and perhaps corresponds to the shattering of Amanda’s illusions. The second instance of glass shattering is when Jim O’Connor breaks Laura’s glass unicorn. [6]‘When the glass unicorn breaks this is the most symbolically charged moment in the play’. This is true, it is as if the breaking of the glass represents the shattering of the barrier she has had from(freedom)the outside world; this is confirmed when Jim kisses her. Jim ‘O Connor appears charming as he ‘heartily’ greets Laura, much like Mr Wingfield who possessed the deceptive ‘vivacity of charm’. However as Jim instigates the kiss he immediately retreats and tells her that he is engaged to someone else. After this the shattering of the glass conveys a much darker meaning it now represents Laura’s shattered dream of companionship and her broken heart. [7]Shuttle worth states that ‘Jim’s decency demonstrates  how men trapped  women in the 1930’s’.Following Claire Skinner’s performance of Laura in Sam Mendes 1995 production critics identified ’underlying strength in the character’ and Stephen .J. Bottoms claims that she was not portrayed as ‘merely a victim’. Unfortunately, Jim O’Connor initiates the kiss he shared with Laura he remains in control; Laura submissively complies by gratifying his desire it is Laura’s ‘crippling shyness’ that prevents her from instigating conflict and expressing the hurt that she feels. Perhaps the disappearance of Laura’s father has had a psychological effect on the way she views relationships with the opposite sex. This is symbolically represented as she immediately withdraws away from the real world to immerse herself in her father’s old victrola; this is her way of accepting and coping with the hardship that has taken place as a result of male domination.

Conversely, Celie, ‘TCP’ is also vulnerable against conflict caused by patriarchy; she feels that it is better to survive than to fight. Celie is completely unable to resist the abuse that is happening to her. Remembering Alphonso’s warning that ‘she better never tell anybody but God’ about her abuse. Walker employs ‘God’ as a symbol of patriarchal dominance: Celie’s husband dominates her just as her father did. This reflects some people’s view of ‘God’, as being unloving and selfish. However, Celie relies heavily on ‘God’ just as she does men. Moreover she contradicts herself as she also views ‘God’ as her redeemer and source of strength. Walker sometimes blurs the distinction between ‘God’ and Alphonso as Celie confesses that is was ‘God’ that killed her baby rather than Alphonso. The symbol of ‘God’ alternatively represents Celie’s confusion regarding the ambiguous feelings she has towards men, she fears them but she has to rely on them in order to have some financial stability and social security.

Feminists consider the inclusion of rape in literature to be the ultimate outrage. [8]’It is the invasion of the female body, as women are weakly vulnerable to masculine attack’. Celie overcomes her abuse whereas Blanche is pushed further into insanity and delusion. In ‘Streetcar’ Stanley claims that ‘we had this date from the beginning’ and when the scene concludes, pulsating music is played to indicate that Blanche has physically been dominated. The omission of the rape heightens our sense of its offensive nature as it would have been considered appropriate to be shown on stage in 1940’s America. The atmosphere created on stage aids Stanley’s predatory body language of ‘stalking’ as ‘inhuman jungle noises’ are heard. Blanche has been resisting subjugation to male domination throughout the play, in the previous scene Blanche successfully fends of Mitch’s sexual advances and calls ‘fire’ but now Tennessee Williams portrays her as mentally exhausted. She becomes powerless, ’she sinks to her knees’ and silently resigns as Stanley ‘carries her to the bed’. Contrastingly, Celie’s unloving sexually abusive past is behind her as she becomes liberated by her lesbian lover Shug. Celie finds that if you ‘haven’t enjoyed sex you’re still a virgin’ and realises that virginity is an emotional state rather than just physical. Walker bravely presents a lesbian relationship to depict that women do not always need to be dependent on men instead they can support and love one another and fight against the tyrannical forces of men. In context with the novel set in the  1930’s, she merged it with  far more modern ideas in order to challenge people’s perception of relationships and gender roles, this depicts the lengths women will go in order to avoid conflict with men, ’Walker illuminated the world of black women’.[9]


Williams and Walker feature elements of abuse caused by men inflicted onto women in order to depict the conflict that arises as a result of a patriarchal society in the 1930’s and 1940’s.The abuse is used to portray that equal treatment for women was uncommon. Both writers justified the conflict that the female protagonist instigated as a result of this injustice. This is why Williams presents Blanche going ‘from one leaky roof to the next’, ‘putting out’, complying with men’s lusty wants in order to avoid conflict. However, conflict occurs with men none the less, and her promiscuity leads to her downfall. From a more traditional perspective in the bible women are described as[10]‘being weaker flesh than men’ and men ‘the head of the household’ who are supposed to ‘cherish their physically weaker wives’. This juxtaposes the way male characters such as Stanley are presented as barbaric lusty men ‘who size women up with one glance’. Walker does not present her female characters as prey but as people who deal with their unjust situations and attempt to overcome it. However, she has been accused [11]‘of betraying her race, of hating black men, of ruining young black male and female relationships and of being a lesbian’. Even so, ’TCP’ has still been considered [12]‘a fable of the modern world’ that blurs the distinguished gender roles: Shug’s sexual assertiveness and Harpo’s insecurity. In classic Shakespearian literature women who attempted to fight for equality were considered to be shrews. Notably, Williams’ sympathy clearly lies with the women in his plays unlike the trend writers of romantic fiction he was not fixated on young virgins,[13]’he understood the neat categories that women were forced into’. This is reflected when Mitch finds out the truth about Blanche and he refers to her as ‘not clean enough to bring into [his] mother’s house’. Williams was a mid-twentieth century playwright, he saw the injustice and wrote about it, he states that [14]‘if you apprehend life without struggle you are equipped with the basic means of salvation’, and Walker wrote about the same feminine struggle towards the latter half of the 20^th century. Which leaves us wondering has society really evolved, or are women still dictated to by a patriarchal society, is conflict inevitable?

[1] WJ Cash 1960

[2] Kiarri Chatwood 2007

[3] Alice Walker June 2007

[4] WJ Cash 1960

[5] Tina Fey 2000

[6] Robert Bray 1944                                                                                                                                                                                      

[7] Shuttleworth introductory essay 1944

[8] WJ Cash 1960

[9] Kiarri Chatwood 2007

[10] Ephesians 5:22-25

[11] Aida Edemarian June 2007

[12] Washington post 1983

[13] Arthur Miller 2004

[14] Tennessee Williams 1947