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Essay / Research Paper Abstract
In fourteen pages this paper analyzes the writing style of Tennessee Williams, which was inspired by his own life and the influences of Greek tragedy and prose. Seven sources are listed in the bibliography.
Page Count:
14 pages (~225 words per page)
File: TG61_TGtennwill.rtf
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Unformatted sample text from the term paper:
the artist. The writing style of Thomas "Tennessee" Williams (1911-1983) certainly reflects the man, his life, and his cultural experiences (both literary and geographical). With the lone exception
of William Faulkner, there is no writer more closely associated with the American South than Tennessee Williams. However, his style differed from those of his Southern literary contemporaries like
Faulkner, Eudora Welty, and Carson McCullers among others, in that he chose drama as his primary form of expression instead of the novel or the short story (Tischler 15-16).
The society of the Mississippi Delta is prominent in Williams style, but his love of Romantic poetry is also reflected in his plays (Tischler 17). Williams experimented with drama
as a poetic medium that is evident in his lyrical dialogue, his staging (most notably lighting), his reliance upon metaphor and symbolism. Most of Williams most famous plays -
The Glass Menagerie (1944), A Streetcar Named Desire (1947), Cat on a Hot Tin Roof (1955), and Suddenly, Last Summer (1958) - are contemporary versions of the Greek literary tragedy.
Williams freely admitted that he structured his own life experiences in ways that mirrored the classical tragic playwrights, most notably Euripides. Within these tragedies, the unfortunate fate of
the hero or heroine is usually determined by some type of sexual desire. The theme of repressed sexuality or confused sexual identity that characterizes Williams greatest plays resembles the
sexual turmoil of the playwright. Williams homosexuality was in conflict with the conservative Southern religious values with which he was raised. Perhaps the eclectic writing style that evolved
from Williams own life was his attempt to exorcise his sexual demons. The Glass Menagerie was Williams first stage success and regarded as his most autobiographical work (Kolin 34).
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