田纳西·威廉斯作品中同恋元素研究 (2).doc

摘 要 田纳西威廉斯，被今日美国盛誉为“美国最炙手可热的剧作家”，因“为心呐喊”声名鹊起，可与“悲剧剧作家”尤金奥尼尔和“戏剧界的良心”阿瑟密勒相媲美。作为一个饱受社会折磨的同性恋，威廉斯从未将同性恋元素从他作品中脱离。然而，他作品中的同性恋元素在研究时要么被刻意绕开，要么被轻视。为了弥补这个遗憾，本篇论文试图深究其最为成功的三部作品玻璃动物园，欲望号街车和热铁皮屋顶上的猫中的同性恋元素，从隐藏在壁橱中的同性恋汤姆，到导致整个悲剧的同性恋艾伦，再到找不到出路的焦虑的同性恋布莱克。本篇论文可分为五个部分：简介，三个章节和总结。简介部分给出了威廉斯和他最成功三部作品的大致轮廓。第一章节揭开玻璃动物园中的层层迷纱，将作者意图表达的真相-汤姆的同性恋展示给读者。第二章节强调欲望号街车中同性恋人物艾伦的重要性，这个威廉斯创造的第一个公开的同性恋却是一直被忽视的角色。第三章节详细解读热铁皮屋顶上的猫中同性恋角色布莱克。总结部分揭示威廉斯作品中同性恋元素的重要性，在麦卡锡及众议院非美活动调查委员会层层压力下，威廉斯通过他柔化同性恋元素的高超写作手法将同性恋融入他的作品，发出呐喊，他所要表达的绝不仅仅是为了某个特定的人。 关键词： 同性恋； 田纳西威廉斯； 玻璃动物园； 欲望号街车； 热铁皮屋顶上的猫 IAbstractTennessee Williams, “the hottest playwright in America” according to USA Today (October 22, 2003), emerges as “the poet of the heart”, comparable with Eugene ONeil as “the tragic dramatist” and Arthur Miller as “the theatrician of the ethical” (Roudane, 2000: 1 ). Being a homosexual, grilled and tortured quite a lot by the society, Williams never separates homosexuality from his works. However, the homosexuality in his works is either detoured or undervalued. To make up for this pity, this thesis attempts to delve into the homosexuality in the “big three” of his oeuvres: The Glass Menagerie (1945), A Streetcar Named Desire (1947) and Cat on a Hot Tin Roof (1955), from the unexposed gay Tom hiding in the closet, the fugitive gay Allan leading to the tragedy, to the panic gay Brick finding no way out.This thesis can be divided into five parts: the introduction, three chapters and the conclusion. The introduction offers a rough sketch of Williams and the “big three”. Chapter one intends to unveil “truth” from “illusion” in The Glass Menagerie. By digging into the coded homosexual subtexts, chapter one ventures to decode Toms potential homosexuality, the hidden and disguised truth. Chapter two attempts to shed light on Allan in A Streetcar Named Desire, the first overt homosexual Williams creates but long ignored by most critics. Chapter three tries to elaborate on the struggling gay Brick in Cat on a Hot Tin Roof. In the conclusion part, it will touch upon the social significance of Williams depiction of homosexuality. Under the pressure of the McCarthy and HUAC witch-hunter, Williams wages his battle in bringing homosexuality to the center of his works by means of his masterful tactics in softening and blurring homosexuality, what he wants to show is far beyond the plight of particular persons. Key Words: homosexuality; Tennessee Williams; The Glass Menagerie; A Streetcar Named Desire; Cat on a Hot Tin Roof II Contents1 Introduction.12 Homosexuality in The Glass Menagerie.22.1 Tom: Latent Gay Hiding in the Closet2 2.1.1 Toms Particular Attitudes Implying Homosexuality.3 2.1.2Toms Decisive Behaviors Manifesting Homosexuality 5 2.2 The Glass Menagerie: Obscure but Unnoticed Song for Homosexuality63 Homosexuality in A Streetcar Named Desire.83.1 Allan: Fugitive Gay Leading to the Tragedy8 3.1.1 Blanches Recall Implying the Importance of Allans Homosexuality .8 3.1.2 Blanches Empathy Manifesting the Importance of Allans Homosexuality9 3.2 A Streetcar Named Desire: Open but Neglected Song for Homosexuality.104 Homosexuality in Cat on a Hot Tin Roof 114.1 Brick: Panic Gay Finding No Way out.12 4.1.1 Bricks Denial Implying His Panic about Homosexuality.124.1.2 Bricks Compromising Manifesting the Doomed Fate of Homosexuality .134.2 Cat on a Hot Tin Roof: Bare but Failed Song for Homosexuality.145 Conclusion.15Bibliography.17Acknowledgements.19 IIIAnalysis of the Homosexuality in Tennessee Williams Works1 Introduction“If such playwrights as Eugene ONeill, Susan Glaspell, Thornton Wilder, and Clifford Odets, dominate American theatre in the first half of the twentieth century, and Arthur Miller, Edward Albee, Lorraine Hansberry, Sam Shepard, and among many others, David Mament the second half, Tennessee Williams animates the middle years of the century. In the very real sense, then, Tennessee Williams inhabits a central place within the American theatre.” (Roudane, 2000: 1) For all masterpieces Williams leaves, his homosexuality, as the fodder, is always incarnated. “I have never hidden my homosexuality, I dont think. I havent meant to. But I havent tried to flaunt it, as some have said. In many ways it has been such an integral part of my creativity.” (Devlin, 1986: 274). From an insiders view, Williams tries his best to speak for homosexuals and cry for accommodation. Its a pity that little attention has been paid to homosexuality in his works, let alone catching its importance. The Glass Menagerie, from which Williams becomes famous overnight, runs for 561 performances. From then on, Williams turns out to be a dazzling star in American drama.Running for 855 performances，A Streetcar Named Desire is the first play winning three major awards: the Pulitzer Prize, the New York Drama Critics Circle Award, and the Donaldson Award. The importance of A Streetcar Named Desire is clearly shown in the design in an American postage stamp. This stamp was issued in 1996, and in the stamp a portrait of Williams is featured with a background where a streetcar can be seen. Cat on a Hot Tin Roof, hitting Broadway in 1955, garners Williams recognition: “People are always asking me which is my favorite among the plays. I have written, the number of which eludes my recollection, and I either say to them always the latest or I succumb to my instinct for the truth and say I suppose it must be the the published version of Cat on a Hot Tin Roof. That play comes closet to being both a work of art and a work of craft. I believe that in Cat I reach beyond myself.” (Jacobus, 1993: 990) Williams strives hard to voice for homosexuality in a homophobic society, this thesis aims to follow his traits and convey his plea for homosexuality in his “big three”. But decoding homosexuality is not something worth congratulating, it is a process of revealing the oppression and humiliation homosexuals have been suffering, which is thought-provoking. Homosexuals are Earths crooked children, whatever faults they have, they are eager to be understood and accepted. Only when the society changes views towards homosexuality will homosexuals lead a normal life. This is also what Williams preach for.2 Homosexuality in The Glass MenagerieCompared to A Streetcar Named Desire and Cat on a Hot Tin Roof, in which there appear Williams first overt gay character Allan and the panic gay Brick, although they either die or compromise. In The Glass Menagerie, there is no clear-mentioned information about homosexuality. As a result, while homosexual interpretations of A Streetcar Named Desire and Cat on a Hot Tin Roof are nothing strange, few relevant study is made on The Glass Menagerie. However, contrary to the acknowledged view that there is no such issue as homosexuality in The Glass Menagerie, homosexuality is actually woven throughout the whole play. For better academic understanding and to supply the academic gap, this thesis assigns this first part to probe into the homosexuality in The Glass Menagerie.2.1 Tom: Latent Gay Hiding in the ClosetFrom the very beginning, Laura, who takes up over two-thirds in this memory play, has been regarded as the focal point of The Glass Menagerie. However, Lauras agony and suffering are not what Williams wants the audiences to pay attention to. In fact, under the disguise of the tortured sister, Toms homosexuality is actually the center of play. Just as what Tom says in the opening speech: “Yes, I have tricks in my pocket, I have things up my sleeve. But I am the opposite of a stage magician. He gives you illusion that has the appearance of truth. I give you truth in the pleasant disguise of illusion.” (Williams, 1992: 6) This part intends to unveil the “illusion” by picking out oblique hints scattered in this play so as to convey the hidden “truth”-Toms homosexuality.2.1.1 Toms Particular Attitudes Implying HomosexualityIn The Glass Menagerie, when it comes to Tom, his loitering in movies is mentioned now and then, leaving the audience a deep impression. Toms unusual fanatical attitude towards movies is actually something worth thoroughly meditating.This kind of strange attitude towards movies also arouses Amandas suspicion:“I think youve been doings that youre ashamed of. Thats why you act like this. I dont believe that you go every night to the movies. Nobody goes to the movies night after night. Nobody in their right minds goes to the movies as often as you pretend to. People dont go to the movies at nearly midnight, and movies dont let over at two a.m. Come in stumbling. Muttering to yourself like a maniac! ”(Williams, 1992: 24)Tom also mentions that there are various free-time activities such as going to dance halls or bars. So why is he so interested in movies? It is universally known that cinema often suits homosexuals in dating or finding companions. In Williams later stories such as The Mysteries of the Joy Rio and Hard Candy, Williams writes about gay sex in darkened movie houses, too. So Toms fanatical attitude toward movies is actually the hint of his homosexuality.More convincingly, in the following conversation between Tom and Amanda, Tom pauses a lot in replying, giving the audience an impression that his hesitant attitude is actually the sign of hiding something unspeakable:“Amanda: Laura says that you hate the apartment and that you go out nights to get away from it! Is that true, Tom?Tom: No, you say theres so much in your heart that you cant describe to me. Thats true of me, too. Theres so much in my heart that I cant describe to you! So lets respect each others -Amanda: But why-why. Tom-are you always so restless? Where did you go to, nights?Tom: I-go to the movies.Amanda: Why do you go to movies so much, Tom?Tom: I go to the movies because-I like adventure. Adventure is something I dont have much of at work, so I go to the movies.Amanda: But, Tom, you go to the movies entirely too much!Tom: I like a lot of adventure.” (Williams, 1992 : 34)Amandas questions are just parts of daily talk between a mother and a son. It is not difficult to answer, and it doesnt need too much thinking before answering. But why does Tom pause a lot and strive so hard in answering? This strange attitude only implies that he is lying and tries to find excuses. Just as Gilbert points out, “The strategically placed hesitation may reveal embarrassment or emphasize the importance to the speaker of what he is about to say and at the same time allow him to pause in his attempt to control the double meaning of his discourse by selecting the vague and all-encompassing adventure which cleverly describes and conceals what Tom seeks at the movies”(Debusscher, 2000: 66)Whats more, in Toms talk below, his uninterested attitude towards women further implies his homosexuality:“Tom:.Couples would come outside, to the relative privacy of the alley. You could see them kissing behind ash-pits and telegraph poles. This was the compensation for lives that passed like mine, without any change of adventure. and sex that hung in the gloom like a chandelier and flooded the world with brief, deceptive rainbows.” (Williams, 1992: 40)For a young man, it is easy or natural to have a crush on a woman, either secretly or openly. But by using such words “compensation” and “deceptive”, it seems a little strange that Tom has no expectation and admiration for owning romantic relationship with a woman. Besides, this play develops in line with Toms memory, but there is no female characters related with Tom besides his sister and mother. That is to say, when recalling, Tom maybe deliberately exclude this kind of relevant information. This uninterested attitude towards women undoubtedly implies his homosexuality.2.1.2 Toms Decisive Behaviors Manifesting HomosexualityIf Toms unusual fanaticism in movies, Toms unnatural hesitation in answering and Toms lack of interest in women are not potent enough to support his homosexuality, then his following decisive behaviors manifest his homosexuality. In the conversation below, Tom tells Jim that he is tired of movies and he wants to “come out”. Besides, he says he has joined the Union of Merchant Seaman and become a seaman.“Jim: What are you gassing about?Tom: Im tired of the movies.Jim: Movies!Tom: Yes, movies! Look at them? A wave toward the marvels of Grand Avenue. All of those glamorous people-having, adventures-hogging it all, gobbling the whole thing up! You know what happens? People go to the movies instead of moving! Hollywood characters are supposed to have all the adventures for everybody in America, while everybody in America sits in a dark room and watches them have them! Yes, until theres a war. Thats when adventure becomes available to the masses! Everyones dish, not only Gables! Then the people in the dark room come out of the dark room to have some adventure themselves Goody, goody!-Its our turn now, to go to the South Sea Islands-to make a safari -to be exotic, far-off!-But Im not patient. I dont want to wait till then. Im tired of the movies and I am about to move! .Jim: What?Tom: Im a member.Jimreading: The Union of Merchant Seamen.” (Williams, 1992:61-62)It is known that “come out” is a slang for homosexuals to open their homosexuality. So here, Tom makes a struggle in himself for whether turning thoughts into deeds or not. Bravely enough, Tom decides to leave home and becomes a seaman. This decisive behavior of being a seaman is a little strange, as it has no previous signs. It is easy for audience to feel that Tom is dying for being a poet as he even writes on the shoe lids at the cost of being fired and he quarrels with his mother about D.H.Lawrence. But why does Tom choose to be a seaman after he abandons his family? Such precious freedom is not easily obtained, as it is at the cost of feeling guilty all his life. One tentative explanation may be: By being a seaman, in an all-male community in the ship far from land, Tom finds the safest place to pursue his homosexuality. Thus Toms final profession manifests his homosexual psychology.After being a seaman, Tom spares no effort to find companions decisively: “I am walking along a street at night, in some strange city, before I have found companions.I reach for a cigarette, I cross the street, I run into the movies or a bar, I buy a drink, I speak to the nearest strangers.(Williams, 1992 :97)“I traveled around a great deal. I would have stopped, but I was pursued by something. Perhaps Im walking along a street at night, in some strange city, before I have found companions.”(Williams, 1992:97) Tom seems to be quite decisive in finding companions, and in spite of strongly feeling guilty to Laura, Tom still chooses not to come back. So it is not due to his nagging mother and delicate sister or dull jobs that he leaves. He leaves just for his own long premeditated purpose-to find companions. Thus “something” in his words refers to his hidden homosexuality that makes him ceaselessly find companions. 2.2 The Glass Menagerie: Obscure but Unnoticed Song for HomosexualityThe oblique expression of homosexuality in The Glass Menagerie does bring a lot of obstacles in touching upon its real purpose. Despite being undervalued by academy, its key point is often missed by the directors, too. Thats why Williams would “either doze off or, more disturbingly, sneer incongruously at unexpected moments, finding reasons for loud exasperation where other members of the audience were provoked to quiet sympathy.”when he attended the performance of The Glass Menagerie (Debusscher, 2000: 57)To make its homosexuality more easily to be caught by readers, Williams adapts A Violin Case and a Coffin from The Glass Menagerie. A Violin Case and a Coffin depicts Toms self-discovery of homosexuality: “When I recall what a little puritan I was in those days, there must have been a shocking ambivalence in my thoughts and sensations as I gazed down upon him through the crack of the door. How on earth did I explain to myself, at that time, the fascination of his physical being without, at the same time, confessing to myself that I was a monster.” (Williams, 1985: 277) “and I remember thinking how closely it resembled a little coffin, a coffin made for a small child or doll.”(Williams, 1985: 275)The little boy, when he discovers his homosexuality all of a sudden, he instinctively uses such words as “Monster” and “coffin”, which seem to symbolize the doomed tragedy of homosexuality. This also shows how the society problematize homosexuality by means of its overt homophobia.Although Williams does not directly and openly talk about homosexuality in The Glass Menagerie, he weaves so many hints between the lines on purpose. By throwing light into The Glass Menagerie from the perspective of homosexuality in the preceding part, it is easy to come to the conclusion that Toms homosexuality is actually what Williams wants to bring into light. Tom, the latent gay never walks out from the closet and lives the rest of his life in deep guilt for his sister. Why does Tom dare not to confess his homosexuality? Is It due to his nag