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Word Count: 1,161
It cannot be denied that much of Stanleys behaviour throughout the play in particular his rape of Blanche is monstrous However the potential behind his threatening presence is cunningly revealed by Williams long before the dramatic ending through Stanleys stage directions language and behaviour One critic peter Fleming referred to Stanley as a character almost as over-simplified and two-dimensional as those daemonic supermen whose exploits in strip cartoons make such an appeal to the imagination of the American male Clearly Stanleys brutal masculinity can be viewed as an illusion a realist image to which he aspires and in doing so becomes an egocentric persona who provokes audience concern form his entry in Scene One As a result Williams unmasks Stanleys monstrousness gradually throughout the play so that the end although shocking cannot be described as unexpected Williams reveals Stanleys character to the audience in a number of different ways The initial stage directions in Scene One introduce an animalistic man who thrives on his own sexuality and the power of male brute force Animal joy in his being is implicit in all his movements and attitudes the centre of his life has been his pleasures with women Descriptions of all Stanleys movements from this scene onwards enhance his atavism seizes the atomizer rips off the ribbon lurches up with heaven-splitting violence This gives the impression that Stanley physically can control the people in his life and if failing by other means he will not hesitate to use this power Another device used by Williams to emphasise the importance of physicality to Stanleys character through is symbolism He is described as the gaudy seed bearer and is regularly associated with visual and sound effects to emphasise this Often on his entry to a scene the perpetual blue piano music is heard In the opening description of Scene One this is described as
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