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A Streetcar Named Desire
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For other uses, see A Streetcar Named Desire (disambiguation).
A Streetcar Named Desire
First edition (New Directions)
Written by
Tennessee Williams
Characters
Blanche DuBois
Stella Kowalski
Stanley Kowalski
Harold "Mitch" Mitchell
Date premiered
December 3, 1947
Place premiered
Ethel Barrymore Theatre
New York City, New York
Original language
English
Genre
Southern Gothic
Setting
The French Quarter and Downtown New Orleans
A Streetcar Named Desire is a 1947 play written by American playwright Tennessee Williams[1] that received the Pulitzer Prize for Drama in 1948. The play opened on Broadway on December 3, 1947, and closed on December 17, 1949, in the Ethel Barrymore Theatre. The Broadway production was directed by Elia Kazan and starred Jessica Tandy, Marlon Brando, Karl Malden, and Kim Hunter.[2] The London production opened in 1949 with Bonar Colleano, Vivien Leigh, and Renee Asherson and was directed by Laurence Olivier.[1] The drama A Streetcar Named Desire is often regarded as among the finest plays of the 20th century, and is considered by many to be Williams' greatest.[by whom? – Discuss]
Contents
[hide]
1 Plot
2 Stage productions
2.1 Original Broadway production
3 Original cast
3.1 Original London production
3.2 Belle Reprieve
3.3 Revivals
4 Adaptations
4.1 Film
4.2 Opera
4.3 Ballet
4.4 Television
5 Inspirations
6 "A Streetcar Named Success"
7 Awards and nominations
8 Auction record
9 References
10 External links
Plot[edit]
After the loss of her family home, Belle Reve, to creditors, Blanche DuBois travels from the small town of Laurel, Mississippi, to the New Orleans French Quarter to live with her younger, married sister, Stella, and brother-in-law, Stanley Kowalski. Blanche is in her thirties and, with no money, she has nowhere else to go.
Blanche tells Stella that she has taken a leave of absence from her English-teaching position because of her nerves (which is later revealed to be a lie). Blanche laments the shabbiness of her sister’s two-room flat. She finds Stanley loud and rough, eventually referring to him as "common". Stanley, in return, does not care for Blanche's manners and dislikes her presence.
Stanley later questions Blanche about her earlier marriage. Blanche had married when she was very young, but her husband died, leaving her widowed and alone. The memory of her dead husband causes Blanche some obvious distress. Stanley, worried that he has been cheated out of an inheritance, demands to know what happened to Belle Reve, once a large plantation and the DuBois family home. Blanche hands over all the documents pertaining to Belle Reve. While looking at the papers, Stanley notices a bundle of letters that Blanche emotionally proclaims are personal love letters from her dead husband. For a moment, Stanley seems caught off guard over her proclaimed feelings. Afterwards, he informs Blanche that Stella is going to have a baby.
The night after Blanche’s arrival, during one of Stanley’s poker parties, Blanche meets Mitch, one of Stanley’s poker player buddies. His courteous manner sets him apart from the other men. Their chat becomes flirtatious and friendly, and Blanche easily charms him; they like each other. Suddenly becoming upset over multiple interruptions, Stanley explodes in a drunken rage and strikes Stella. Blanche and Stella take refuge with the upstairs neighbor, Eunice. When Stanley recovers, he cries out from the courtyard below for Stella to come back by repeatedly calling her name until she comes down and allows herself to be carried off to bed. After Stella returns to Stanley, Blanche and Mitch sit at the bottom of the steps in the courtyard, where Mitch apologizes for Stanley's coarse behavior.
Blanche is bewildered that Stella would go back with him after such violence. The next morning, Blanche rushes to Stella and describes Stanley as a subhuman animal, though Stella assures Blanche that she and Stanley are fine. Stanley overhears the conversation but keeps silent. When Stanley comes in, Stella hugs and kisses him, letting Blanche know that her low opinion of Stanley does not matter.
As the weeks pass, Blanche and Stanley continue to not get along. Blanche has hope in Mitch, and tells Stella that she wants to go away with him and not be anyone’s problem. During a meeting between the two, Blanche confesses to Mitch that once she was married to a young man, Allan Grey, whom she later discovered in a sexual encounter with an older man. Grey later committed suicide when Blanche told him she was disgusted with him. The story touches Mitch, who tells Blanche that they need each other. It seems certain that they will get married.
Later on, Stanley repeats gossip to Stella that he has gathered on Blanche, telling her that Blanche was fired from her teaching job for having sex with a student and that she lived at a hotel known for prostitution (the Flamingo). Stella erupts in anger over Stanley’s cruelty after he states that he has also told Mitch about the rumors, but the fight is cut short as she goes into labor and is sent to the hospital.
As Blanche waits at home alone, Mitch arrives and confronts Blanche with the stories that Stanley has told him. At first she denies everything, but eventually confesses that the stories are true. She pleads for forgiveness, but an angry and humiliated Mitch refuses her the chance at an honorable relationship and attempts to sexually assault her instead. In response, Blanche screams "fire", and he runs away in fright.
Hours before Stella has the baby, Stanley and Blanche are left alone in the apartment. Blanche has descended into a fantasy that an old suitor of hers is coming to provide financial support and take her away from New Orleans. Stanley goes along with the act before angrily scorning Blanche's lies and behavior, and advances toward her; in response, she threatens to glass him, but is overpowered. It is strongly implied that Stanley rapes Blanche, imminently resulting in her psychotic crisis.
Weeks later, at another poker game at the Kowalski apartment, Stella and her neighbor, Eunice, are packing Blanche's belongings. Blanche has suffered a complete mental breakdown and is to be committed to a mental hospital. Although Blanche has told Stella about Stanley's assault, Stella cannot bring herself to believe her sister's story. When a doctor and a matron arrive to take Blanche to the hospital, she initially resists them and collapses on the floor in confusion. Mitch, present at the poker game, breaks down in tears. When the doctor helps Blanche up, she goes willingly with him, saying: "Whoever you are, I have always depended upon the kindness of strangers." The play ends with Stanley continuing to comfort Stella, but also fondling with her blouse, while the poker game continues uninterrupted, as Steve says: "This game is seven-card stud."
Stage productions[edit]
Original Broadway production[edit]
Publicity still of Marlon Brando (dated December 27, 1948) in the Broadway production of A Streetcar Named Desire
Publicity still of Marlon Brando (dated December 27, 1948) in the Broadway production of A Streetcar Named Desire
The original Broadway production was produced by Irene Mayer Selznick.[2] It opened at the Shubert in New Haven shortly before moving to the Ethel Barrymore Theatre on December 3, 1947.[2] Selznick originally wanted to cast Margaret Sullavan and John Garfield, but settled on Jessica Tandy and Marlon Brando, who were virtual unknowns at the time. The opening night cast also included Kim Hunter as Stella and Karl Malden as Mitch.[2] Tandy was cast after Williams saw her performance in a West Coast production of his one-act play Portrait of a Madonna. Williams believed that casting Brando, who was young for the part as it was originally conceived, would evolve Kowalski from being a vicious older man to someone whose unintentional cruelty can be attributed to youthful ignorance. Despite its shocking scenes and gritty dialogue, the audience applauded for half an hour after the debut performance ended.[3] Brooks Atkinson, reviewing the opening in The New York Times, described Tandy's "superb performance" as "almost incredibly true," concluding that Williams "has spun a poignant and luminous story."[4] Later in the run, Uta Hagen replaced Tandy, Carmelita Pope replaced Hunter, and Anthony Quinn replaced Brando. Hagen and Quinn took the show on a national tour and then returned to Broadway for additional performances. Early on, when Brando broke his nose, Jack Palance took over his role. Ralph Meeker also took on the part of Stanley both in the Broadway and touring companies. Tandy received a Tony Award for Best Actress in a Play in 1948, sharing the honor with Judith Anderson's portrayal of Medea and with Katharine Cornell.
Uta Hagen's Blanche on the national tour was directed not by Elia Kazan, who had directed the Broadway production, but by Harold Clurman, and it has been reported, both in interviews by Hagen and observations by contemporary critics, that the Clurman-directed interpretation shifted the focus of audience sympathy back to Blanche and away from Stanley (where the Kazan version had located it). This was the original conception of the play, and has been reflected in subsequent revivals.
The original Broadway production closed, after 855 performances, in 1949.
Original cast[edit]
Jessica Tandy as Blanche DuBois
Karl Malden as Harold "Mitch" Mitchell
Marlon Brando as Stanley Kowalski
Kim Hunter as Stella Kowalski
Rudy Bond as Steve Hubbell
Nick Dennis as Pablo Gonzales
Peg Hillias as Eunice Hubbell
Vito Christi as Young Collector
Richard Garrick as Doctor
Ann Dere as Nurse
Gee Gee James as Negro Woman
Edna Thomas as Mexican Woman
Original London production[edit]
The London production, directed by Laurence Olivier, opened on October 12, 1949, and starred Bonar Colleano, Vivien Leigh, and Renee Asherson.[1]
Belle Reprieve[edit]
Bette Bourne and Paul Shaw of the British gay theater company, Bloolips, and Peggy Shaw and Lois Weaver of the American lesbian theater company, Split Britches, collaborated and performed a gender-bent production of Belle Reprieve, a twisted adaption of Streetcar. “This theatrical piece creates a Brechtian,” “epic drama” that relies on the reflective rather than emotional involvement of the audience—a “commentary on the sexual roles and games in Williams’s text.” Blanche was played by Bette Bourne as “man in a dress," Stanley was played by Peggy Shaw as a “butch lesbian,” Mitch was played by Paul Shaw as a “fairy disguised as a man,” and Stella was played by Lois Weaver as a “woman disguised as a woman.”[5]
Revivals[edit]
The first all-black production of Streetcar was likely performed by the Summer Theatre Company at Lincoln University in Jefferson City, Missouri, in August 1953 and directed by one of Williams's former classmates at Iowa, Thomas D. Pawley, as noted in the Streetcar edition of the "Plays in Production" series published by Cambridge University Press. The black and cross-gendered productions of Streetcar since the mid-1950s are too numerous to list here.
Tallulah Bankhead, for whom Williams had originally written the role of Blanche, starred in a 1956 New York City Center Company production directed by Herbert Machiz.
The first Broadway revival of the play was in 1973. It was produced by the Lincoln Center, at the Vivian Beaumont Theater, and starred Rosemary Harris as Blanche, James Farentino as Stanley and Patricia Conolly as Stella.[6]
The Simpsons did an episode, A Streetcar Named Marge, in which the play was featured. Ned Flanders and Marge took the leading roles as Stanley and Blanche, respectively.
The Spring 1988 revival at the Circle in the Square Theatre starred Aidan Quinn opposite Blythe Danner as Blanche and Frances McDormand as Stella.[7]
A highly publicized revival in 1992 starred Alec Baldwin as Stanley and Jessica Lange as Blanche. It was staged at the Ethel Barrymore Theatre, the same theatre that the original production was staged in. This production proved so successful that it was filmed for television. It featured Timothy Carhart as Mitch and Amy Madigan as Stella, as well as future Sopranos stars James Gandolfini and Aida Turturro. Gandolfini was Carhart's understudy.[8]
In 1997, Le Petit Theatre du Vieux Carre in New Orleans mounted a 50th Anniversary production, with music by the Marsalis family, starring Michael Arata and Shelly Poncy. In 2009, the Walnut Street Theatre in Philadelphia, where the original pre-Broadway tryout occurred, began a production of the play for its 200th anniversary season.
The 2005 Broadway revival was directed by Edward Hall and produced by The Roundabout Theater Company. It starred John C. Reilly as Stanley, Amy Ryan as Stella, and Natasha Richardson as Blanche.[9] The production would mark Natasha Richardson's final appearance on Broadway owing to her death in 2009 in a skiing accident.
The Sydney Theatre Company production of A Streetcar Named Desire premiered on September 5 and ran until October 17, 2009. This production, directed by Liv Ullmann, starred Cate Blanchett as Blanche, Joel Edgerton as Stanley, Robin McLeavy as Stella and Tim Richards as Mitch.[10]
From July 2009 until October 2009, Rachel Weisz and Ruth Wilson starred in a highly acclaimed revival of the play in London's West End at the Donmar Warehouse directed by Rob Ashford.
In November 2010, an Oxford University student production was staged at the Oxford Playhouse which sold out and was critically acclaimed.[11]
In April 2012, Blair Underwood, Nicole Ari Parker, Daphne Rubin-Vega and Wood Harris starred in a multiracial adaptation at the Broadhurst Theatre.[12] Theatre review aggregator Curtain Critic gave the production a score of 61 out of 100 based on the opinions of 17 critics.[13]
A production at the Young Vic, London, opened on July 23, 2014, and closed on September 19, 2014. Directed by Benedict Andrews and starring Gillian Anderson, Ben Foster, Vanessa Kirby and Corey Johnson; this production garnered critical acclaim and is the fastest selling show ever produced by the Young Vic.[14] On September 16, 2014, the performance was relayed live to over one thousand cinemas in the UK as part of the National Theatre Live project to broadcast the best of British theatre live from the London stage to cinemas across the UK and around the world.[15] Thus far, the production has been screened in over 2000 venues.[16] From April 23, 2016 till June 4, 2016, the production was reprised at the new St. Ann's Warehouse in Brooklyn, New York City.[17]
In 2016 Sarah Frankcom directed a production at the Royal Exchange in Manchester starring Maxine Peake, Ben Batt, Sharon Duncan Brewster and Youssef Kerkour. It opened on 8 September and closed on 15 October. It was critically well received with Peake's performance in particular singled out for praise.[18]
Adaptations[edit]
Film[edit]
Vivien Leigh in the trailer for A Streetcar Named Desire
Main article: A Streetcar Named Desire (1951 film)
In 1951, a film adaptation of the play, directed by Elia Kazan, with Malden, Brando, and Hunter reprising their Broadway roles, joined by Vivien Leigh from the London production for the part of Blanche. The movie won four Academy Awards, including three acting awards (Leigh for Best Actress, Malden for Best Supporting Actor and Hunter for Best Supporting Actress), the first time a film won three out of four acting awards (Brando was nominated for Best Actor but lost). Jessica Tandy was the only lead actor from the original Broadway production not to appear in the 1951 film. References to Allan Grey's sexual orientation are essentially removed, due to Motion Picture Production Code restrictions. Instead, the reason for his suicide is changed to a general "weakness".[19] The ending itself was also slightly altered. Stella does not remain with Stanley, as she does in the play.
Pedro Almodóvar's 1999 Academy Award-winning film, All About My Mother, features a Spanish-language version of the play being performed by some of the supporting characters and the play itself plays an important role in the film. However, some of the film's dialogue is taken from the 1951 film version, not the original stage version.
The 1973 Woody Allen film Sleeper includes a late scene in which Miles (Woody) and Luna (Diane Keaton) briefly take on the roles of Stanley (Luna) and Blanche (Miles).
It was noted by many critics that the 2013 Academy Award-winning Woody Allen film Blue Jasmine had much in common with Streetcar and is most likely a loose adaptation. It shares a very similar plot and characters, although it has been suitably updated for modern film audiences.[20][21]
In 2015, Gillian Anderson directed and starred in a short film prequel to A Streetcar Named Desire, titled The Departure. The short film was written by the novelist Andrew O'Hagan and is part of Young Vic's short film series, which was produced in collaboration with The Guardian.[22]
Opera[edit]
In 1995, an opera was adapted and composed by André Previn with a libretto by Philip Littell. It had its premiere at the San Francisco Opera during the 1998–99 season, and featured Renée Fleming as Blanche.
Ballet[edit]
A 1952 ballet production with choreography by Valerie Bettis, which Mia Slavenska and Frederic Franklin's Slavenska-Franklin Ballet debuted at Her Majesty's Theatre in Montreal, featured the music of Alex North, who had composed the music for the 1951 film.[23]
Another ballet production was staged by John Neumeier in Frankfurt in 1983. Music included Visions fugitives by Prokofiev and Alfred Schnittke's First Symphony.
In the mid 2000s, another production was staged by Winthrop Corey, then Artistic Director of Mobile Ballet mobileballet.org
In 2012, Scottish Ballet collaborated with theatre and film director Nancy Meckler and international choreographer Annabelle Lopez Ochoa to create a new staging of A Streetcar Named Desire.[24]
Television[edit]
Main articles: A Streetcar Named Desire (1984 film) and A Streetcar Named Desire (1995 film)
In 1955, the television program Omnibus featured Jessica Tandy reviving her original Broadway performance as Blanche, with her husband, Hume Cronyn, as Mitch. It aired only portions of the play that featured the Blanche and Mitch characters.
The multi-Emmy Award-winning 1984 television version featured Ann-Margret as Blanche, Treat Williams as Stanley, Beverly D'Angelo as Stella and Randy Quaid as Mitch. It was directed by John Erman and the teleplay was adapted by Oscar Saul. The music score by composed by Marvin Hamlisch. Ann-Margret, D'Angelo and Quaid were all nominated for Emmy Awards, but none won. However, it did win four Emmys, including one for cinematographer Bill Butler. Ann-Margret won a Golden Globe award for her performance and Treat Williams was nominated for Best Actor in a Miniseries or TV Movie.
A 1995 television version was based on the highly successful Broadway revival that starred Alec Baldwin and Jessica Lange. However, only Baldwin and Lange were from the stage production. The TV version added John Goodman as Mitch and Diane Lane as Stella. This production was directed by Glenn Jordan. Baldwin, Lange and Goodman all received Emmy Award nominations. Lange won a Golden Globe award (for Best Actress in a Miniseries or TV Movie), while Baldwin was nominated for Best Actor, but did not win.
In 1998, PBS aired a taped version of the opera adaptation that featured the original San Francisco Opera cast. The program received an Emmy Award nomination for Outstanding Classical Music/Dance Program.[citation needed]
Inspirations[edit]
The streetcar took its name from Desire Street in the 9th Ward of New Orleans
Main article: Streetcars in New Orleans § Historic lines
The Desire Line ran from 1920 to 1948, at the height of streetcar use in New Orleans. The route ran down Royal, through the Quarter, to Desire Street in the Bywater district, and back up to Canal. Blanche's route in the play—"They told me to take a streetcar named Desire, transfer to one called Cemeteries and ride six blocks and get off at—Elysian Fields!"—is allegorical, taking advantage of New Orleans's colorful street names: the Desire line itself crossed Elysian Fields Avenue on its way to Canal Street. There, one could transfer to the Cemeteries line, which ran along Canal, blocks away from Elysian Fields.
The character of Blanche is thought to be based on Williams' sister, Rose Williams, who struggled with mental health issues and became incapacitated after a lobotomy.[1]
Theatre critic and former actress Blanche Marvin, a friend of Williams, says the playwright used her name for the character Blanche DuBois, named the character's sister Stella after Marvin's former surname "Zohar" (which means "Star"), and took the play's line "I've always depended on the kindness of strangers" from something she said to him.[25]
"A Streetcar Named Success"[edit]
"A Streetcar Named Success" is an essay by Tennessee Williams about art and the artist's role in society. It is often included in paper editions of A Streetcar Named Desire. A version of this essay first appeared in The New York Times on November 30, 1947, four days before the opening of A Streetcar Named Desire. Another version of this essay, entitled "The Catastrophe of Success", is sometimes used as an introduction to The Glass Menagerie.
Awards and nominations[edit]
Awards
1948 New York Drama Critics' Circle Best Play
1948 Tony Award for Best Actress in a Play – Jessica Tandy
1948 Pulitzer Prize for Drama
1992 Theater World Award for Best Actress in a Play – Jessica Lange
2010 Olivier Award for Best Actress in a Play – Rachel Weisz
2010 Olivier Award for Best Supporting Actress in a Play - Ruth Wilson
Nominations
1988 Tony Award for Best Revival of a Play
1988 Tony Award for Best Actress in a Play – Frances McDormand
1988 Tony Award for Best Actress in a Play – Blythe Danner
1992 Tony Award for Best Actor in a Play – Alec Baldwin
2005 Tony Award for Best Featured Actress in a Play – Amy Ryan
2005 Tony Award for Best Costume Design of a Play
2005 Tony Award for Best Lighting Design of a Play
2010 Olivier Award for Best Revival of a Play
2015 Olivier Award for Best Revival of a Play
2015 Olivier Award for Best Actress in a Play – Gillian Anderson
Auction record[edit]
On October 1, 2009, Swann Galleries auctioned an unusually fine copy of A Streetcar Named Desire, New York, 1947, signed by Williams and dated 1976 for $9,000, a record price for a signed copy of the play.
References[edit]
^ Jump up to: a b c d Williams, Tennessee (1995). A Streetcar Named Desire. Introduction and text. Oxford: Heinemann Educational Publishers.
^ Jump up to: a b c d Production notes. December 3, 1947—December 17, 1949
Jump up ^ December 3, This Day In History Calendar (2008). Sourcebooks, Inc.
Jump up ^ Brooks Atkinson, "First Night at the Theatre", New York Times, December 4, 1947.
Jump up ^ Geis, Deborah. “Deconstructing (A Streetcar Named) Desire: Gender Recitation in Belle Reprieve”. Feminist Theatrical Revisions of Classic Works. Ed. Sharon Friedman. Jefferson, NC and London: McFarland & Company, Inc., 2009. 237-246. Print.
Jump up ^ Barnes, Clive (April 27, 1973). "A Rare 'Streetcar'; Fresh Approach Taken at Vivian Beaumont". New York Times. Retrieved September 26, 2012.
Jump up ^ Production notes. March 10 – May 22, 1988.
Jump up ^ Production notes. April 12—August 9, 1992.
Jump up ^ Production notes. April 26–July 3, 2005.
Jump up ^ "A Streetcar Named Desire". SydneyTheatre.com.au. Sydney Theatre Company. Archived from the original on June 14, 2011. Retrieved June 21, 2011.
Jump up ^ "OTR reviews A Streetcar Named Desire at Oxford Playhouse". Oxford Theatre Review. July 26, 2012. Retrieved September 26, 2012.
Jump up ^ "Blair Underwood On Stanley, Stella And 'Streetcar'". National Public Radio. May 1, 2012. Retrieved May 2, 2012.
Jump up ^ "A Streetcar Named Desire". Curtain Critic. Retrieved June 21, 2012.
Jump up ^ "What's on: A Streetcar Named Desire by Tennessee Williams", Young Vic.
Jump up ^ "Young Vic – A Streetcar Named Desire, National Theatre Live.
Jump up ^ Nick Curtis (December 3, 2014). "Gillian Anderson: Self destruction is my default mode". Evening Standard. Retrieved November 9, 2015.
Jump up ^ "St. Ann's Warehouse - A Young Vic & Joshua Andrews Co-Production". St. Ann's Warehouse. Retrieved April 27, 2016.
Jump up ^ "Maxine Peake stalks to the heart of Blanche DuBois". theguardian.com. Retrieved 23 September 2016.
Jump up ^ Cohan, Steven (1997). Masked Men: Masculinity and the Movies in the Fifties. Bloomington, Indiana: Indiana University Press. p. 254. ISBN 0-253-21127-1. Retrieved July 11, 2008.
Jump up ^ "Movie Review: Woody Allen's Blue Jasmine Is Perhaps His Cruelest-Ever Film". Vanity Fair. Retrieved September 12, 2013.
Jump up ^ "Blue Jasmine: Woody Allen's excellent homage to A Streetcar Named Desire". Tri-city Herald. Retrieved September 12, 2013.
Jump up ^ Wiegand, Chris (February 5, 2015). "Gillian Anderson goes back to Blanche for prequel to A Streetcar Named Desire". The Guardian. Retrieved October 6, 2016.
Jump up ^ Kolin, Philip C. (2000). Williams: A Streetcar named Desire. Cambridge University Press. p. 157. ISBN 978-0-521-62610-1.
Jump up ^ "A Streetcar Named Desire" Archived October 12, 2013, at the Wayback Machine. Scottish Ballet
Jump up ^ Clark, Nick (July 27, 2014). "Critic claims 'I was the inspiration for Blanche DuBois'". The Independent. Retrieved August 29, 2014.
External links[edit]
Wikimedia Commons has media related to A Streetcar Named Desire.
Wikiquote has quotations related to: A Streetcar Named Desire
A Streetcar Named Desire (New York productions chronology) at the Internet Broadway Database
[show]
v
t
e
A Streetcar Named Desire by Tennessee Williams
Characters
Blanche DuBois
Stanley Kowalski
Stella Kowalski
Films
1951 film
1984 film
1995 film
Other
Opera
"A Streetcar Named Marge"
"A Streetcar Named Success"
[show]
v
t
e
Pulitzer Prize for Drama
1918–1950
Why Marry? (1918)
Beyond the Horizon (1920)
Miss Lulu Bett (1921)
Anna Christie (1922)
Icebound (1923)
Hell-Bent Fer Heaven (1924)
They Knew What They Wanted (1925)
Craig's Wife (1926)
In Abraham's Bosom (1927)
Strange Interlude (1928)
Street Scene (1929)
The Green Pastures (1930)
Alison's House (1931)
Of Thee I Sing (1932)
Both Your Houses (1933)
Men in White (1934)
The Old Maid (1935)
Idiot's Delight (1936)
You Can't Take It with You (1937)
Our Town (1938)
Abe Lincoln in Illinois (1939)
The Time of Your Life (1940)
There Shall Be No Night (1941)
The Skin of Our Teeth (1943)
Harvey (1945)
State of the Union (1946)
A Streetcar Named Desire (1948)
Death of a Salesman (1949)
South Pacific (1950)
1951–1975
The Shrike (1952)
Picnic (1953)
The Teahouse of the August Moon (1954)
Cat on a Hot Tin Roof (1955)
The Diary of Anne Frank (1956)
Long Day's Journey into Night (1957)
Look Homeward, Angel (1958)
J.B. (1959)
Fiorello! (1960)
All the Way Home (1961)
How to Succeed in Business Without Really Trying (1962)
The Subject Was Roses (1965)
A Delicate Balance (1967)
The Great White Hope (1969)
No Place to be Somebody (1970)
The Effect of Gamma Rays on Man-in-the-Moon Marigolds (1971)
That Championship Season (1973)
Seascape (1975)
1976–2000
A Chorus Line (1976)
The Shadow Box (1977)
The Gin Game (1978)
Buried Child (1979)
Talley's Folly (1980)
Crimes of the Heart (1981)
A Soldier's Play (1982)
'night, Mother (1983)
Glengarry Glen Ross (1984)
Sunday in the Park with George (1985)
Fences (1987)
Driving Miss Daisy (1988)
The Heidi Chronicles (1989)
The Piano Lesson (1990)
Lost in Yonkers (1991)
The Kentucky Cycle (1992)
Angels in America: Millennium Approaches (1993)
Three Tall Women (1994)
The Young Man from Atlanta (1995)
Rent (1996)
How I Learned to Drive (1998)
Wit (1999)
Dinner with Friends (2000)
2001–present
Proof (2001)
Topdog/Underdog (2002)
Anna in the Tropics (2003)
I Am My Own Wife (2004)
Doubt: A Parable (2005)
Rabbit Hole (2007)
August: Osage County (2008)
Ruined (2009)
Next to Normal (2010)
Clybourne Park (2011)
Water by the Spoonful (2012)
Disgraced (2013)
The Flick (2014)
Between Riverside and Crazy (2015)
Hamilton (2016)
Sweat (2017)
[show]
v
t
e
Works by Tennessee Williams
Plays
Candles to the Sun (1936)
Spring Storm (1937)
Fugitive Kind (1937)
Not About Nightingales (1938)
Battle of Angels (1940)
Auto-da-Fé (1941)
The Glass Menagerie (1944)
You Touched Me (1945)
Stairs to the Roof (1947)
A Streetcar Named Desire (1947)
Summer and Smoke (1948)
The Rose Tattoo (1951)
Camino Real (1953)
Cat on a Hot Tin Roof (1955)
Orpheus Descending (1957)
Suddenly Last Summer (1958)
Sweet Bird of Youth (1959)
Period of Adjustment (1960)
The Night of the Iguana (1961)
The Milk Train Doesn't Stop Here Anymore (1963)
The Seven Descents of Myrtle (1968)
In the Bar of a Tokyo Hotel (1969)
Will Mr. Merriweather Return from Memphis? (1969)
Out Cry (1971)
Small Craft Warnings (1972)
The Two-Character Play (1973)
The Red Devil Battery Sign (1975)
This Is (An Entertainment) (1976)
Vieux Carré (1977)
A Lovely Sunday for Creve Coeur (1979)
Clothes for a Summer Hotel (1980)
The Notebook of Trigorin (1981)
Something Cloudy, Something Clear (1981)
A House Not Meant to Stand (1982)
Novels
The Roman Spring of Mrs. Stone (1950)
Moise and the World of Reason (1975)
Short story
collections
Hard Candy: A Book of Stories (1954)
Three Players of a Summer Game and Other Stories (1960)
The Knightly Quest: a Novella and Four Short Stories (1966)
One Arm and Other Stories (1967)
Eight Mortal Ladies Possessed: a Book of Stories (1974)
Screenplays
The Glass Menagerie (1950)
A Streetcar Named Desire (1951)
The Rose Tattoo (1955)
Baby Doll (1956)
Suddenly, Last Summer (1959)
The Fugitive Kind (1959)
Ten Blocks on the Camino Real (1966)
Boom! (1968)
The Loss of a Teardrop Diamond (1957, filmed 2009)
Non-fiction
"The Catastrophe of Success" (1947)
"A Streetcar Named Success" (1947)
Poetry
In the Winter of Cities (1956)
Androgyne, Mon Amour (1977)
Unfinished
manuscripts
In Masks Outrageous and Austere (1983)
Related
articles
List of one-act plays by Tennessee Williams
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Promised Land
From Wikipedia, the free encyclopedia
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This article is about the biblical promise of land to the descendants of Abraham. For other uses, see Promised Land (disambiguation).
The neutrality of this article is disputed. Relevant discussion may be found on the talk page. Please do not remove this message until conditions to do so are met. (January 2016) (Learn how and when to remove this template message)
Map showing the borders of the Promised Land, based on Bible. (Genesis 15).
Map showing one interpretation of the borders of the Promised Land, based on God's promise to Abraham (Genesis 15).
The Promised Land (Hebrew: הארץ המובטחת, translit.: Ha'Aretz HaMuvtahat; Arabic: أرض الميعاد, translit.: Ard Al-Mi'ad; also known as "The Land of Milk and Honey") is the land which, according to the Tanakh (the Hebrew Bible), was promised and subsequently given by God to Abraham and his descendants, and in modern contexts an image and idea related both to the restored Homeland for the Jewish people and to salvation and liberation is more generally understood.
The promise was first made to Abraham (Genesis 15:18-21), then confirmed to his son Isaac (Genesis 26:3), and then to Isaac's son Jacob (Genesis 28:13), Abraham's grandson. The Promised Land was described in terms of the territory from the River of Egypt to the Euphrates river (Exodus 23:31). A smaller area of former Canaanite land and land east of the Jordan River was conquered and occupied by their descendants, the Israelites, after Moses led the Exodus out of Egypt (Numbers 34:1-12), and this occupation was interpreted as God's fulfilment of the promise (Deuteronomy 1:8). Moses anticipated that God might subsequently give the Israelites land reflecting the boundaries of God's original promise, if they were obedient to the covenant (Deuteronomy 19:8-9).
The concept of the Promised Land is the central tenet of Zionism, whose discourse suggests that modern Jews descend from the Israelites and Maccabees through whom they inherit the right to re-establish their "national homeland". Palestinians also claim partial descent from the Israelites and Maccabees, as well as all the other peoples who have lived in the region.[1]
The imagery of the "Promised Land" was invoked in African-American spirituals as heaven or paradise and as an escape from slavery, often which can only be reached by death. The imagery and term have also been used in popular culture (see Promised Land (disambiguation)), sermons and in speeches, such as the "I've Been to the Mountaintop" (1968) speech by Martin Luther King Jr.:
"I just want to do God's will. And He's allowed me to go up to the mountain. And I've looked over. And I've seen the Promised Land. I may not get there with you. But I want you to know tonight, that we, as a people, will get to the Promised Land. So I'm happy, tonight. I'm not worried about anything. I'm not fearing any man. Mine eyes have seen the glory of the coming of the Lord."
Contents
1 Divine promise
2 Descendants of Abraham
3 Christian interpretation
4 Boundaries from the Book of Numbers
5 See also
6 References
Divine promise[edit]
Yahweh (God) shows Moses the Promised Land (Frans Pourbus the Elder, c. 1565–80)
The promise that is the basis of the term is contained in several verses of Genesis in the Torah. In Genesis 12:1 it is said:
The LORD had said to Abram, "Leave your country, your people and your father's household and go to the land I will show you."
and in Genesis 12:7:
The LORD appeared to Abram and said, "To your offspring [or seed] I will give this land."
Commentators have noted several problems with this promise and related ones:
It is to Abram's descendants that the land will (in the future tense) be given, not to Abram directly nor there and then. However, in Genesis 15:7 it is said: He also said to him, "I am the LORD, who brought you out from Ur of the Chaldeans to give you this land to take possession of it." However, how this verse relates to the promises is a matter of controversy.
There is nothing in the promise to indicate God intended it be applied to Abraham’s physical descendants unconditionally, exclusively (to nobody but these descendants), exhaustively (to all of them) or in perpetuity.[2]
Jewish commentators drawing on Rashi's comments to the first verse in the Bible, assert that no human collective ever has any a priori claim to any piece of land on the planet, and that only God decides which group inhabits which land in any point in time. This interpretation has no contradictions since the idea that the Jewish people have a claim to ownership rights on the physical land is based on the idea of God deciding to give the land to the Jewish people and commanding them to occupy it as referred to in Biblical texts previously mentioned.
In Genesis 15:18-21 the boundary of the Promised Land is clarified in terms of the territory of various ancient peoples, as follows:
On that day the LORD made a covenant with Abram and said, "To your descendants I give this land, from the river of Egypt to the great river, the Euphrates - the land of the Kenites, Kenizzites, Kadmonites, Hittites, Perizzites, Rephaite, Amorites, Canaanites, Girgashites and Jebusites."
The verse is said to describe what are known as "borders of the Land" (Gevulot Ha-aretz).[3] In Jewish tradition, these borders define the maximum extent of the land promised to the descendants of Abraham through his son Isaac and grandson Jacob.[4]
The promise was confirmed to Jacob at Genesis 28:13, though the borders are still vague and is in terms of "the land on which you are lying". Other geographical borders are given in Exodus 23:31 which describes borders as marked by the Red Sea, the "Sea of the Philistines" i.e. the Mediterranean, and the "River," (the Euphrates).
The promise is fulfilled at the end of the Exodus from Egypt. Deuteronomy 1:8 says:
See, I have given you this land. Go in and take possession of the land that the LORD swore he would give to your fathers—to Abraham, Isaac and Jacob—and to their descendants after them.
It took a long time before the Israelites could subdue the Canaanite inhabitants of the land. The furthest extent of the Land of Israel was achieved during the time of the united Kingdom of Israel under David.[5][6] The actual land controlled by the Israelites has fluctuated considerably over time, and at times the land has been under the control of various empires. However, under Jewish tradition, even when it is not in Jewish occupation, the land has not lost its status as the Promised Land.
Descendants of Abraham[edit]
The concept is central to Zionism. In 1896, Herzl exhorted Jews to take up the movement, writing "for these have never lost the faith in the Promised Land".
Traditional Jewish interpretation, and that of most Christian commentators, define Abraham's descendants as Abraham's seed only through his son Isaac and his grandson Jacob, to the exclusion of Ishmael and Esau.[4][7][8][9] [10][11][12][13][14][15][16] This may however reflect an eisegesis or reconstruction of primary verses based on the later biblical emphasis of Jacob's descendants. The promises given to Abraham happened prior to the birth of Isaac and were given to all his offspring signified through the rite of circumcision. Johann Friedrich Karl Keil is less clear, as he states that the covenant is through Isaac, but notes that Ishmael's descendants have held much of that land through time.[17]
Mainstream Jewish tradition regards the promise made to Abraham, Isaac and Jacob as having been given to all Jews, including proselytes and in turn their descendants,[18] with the traditional view being that a convert becomes a child of Abraham, as in the term "ben Avraham".[citation needed]
Christian interpretation[edit]
In the New Testament, the descent and promise is reinterpreted along religious lines.[19] In the Epistle to the Galatians, Paul the Apostle draws attention to the formulation of the promise, avoiding the term "seeds" in plural (meaning many people), choosing instead "seed," meaning one person, who, he understands to be Jesus (and those united with him). For example, in Galatians 3:16 he notes:
"The promises were spoken to Abraham and to his seed. Scripture does not say “and to seeds,” meaning many people, but “and to your seed,” meaning one person, who is Christ."
In Galatians 3:28-29 Paul goes further, noting that the expansion of the promise from singular to the plural is not based on genetic/physical association, but a spiritual/religious one:
"There is neither Jew nor Gentile, neither slave nor free, neither male nor female, for you are all one in Christ Jesus. If you belong to Christ, then you are Abraham’s seed, and heirs according to the promise."[2]
In Romans 4:13 it is written:
"It was not through the law that Abraham and his offspring received the promise that he would be heir of the world, but through the righteousness that comes by faith."
Boundaries from the Book of Numbers[edit]
Boundaries of the 'Promised Land' given in the Book of Numbers (chapter 34)
The South border. —(v. 3) "Then your south quarter shall be from the wilderness of Zin along by the coast of Edom, and your south border shall be the outmost coast of the salt sea eastward : (v. 4) And your border shall turn from the south to the ascent of Akrabbim, and pass on to Zin : and the going forth thereof shall be from the south to Kadesh-barnea, and shall go on to Hazar-addar, and pass on to Azmon : (v. 5) And the border shall fetch a compass from Azmon unto the river of Egypt, and the goings out of it shall be at the sea."
The Western border. —(v. 6) "And as for the western border, ye shall even have the great sea for a border : this shall be your west border."
The North border. —(v. 7) "And this shall be your north border : from the great sea ye shall point out for you mount Hor : (v. 8) From mount Hor ye shall point out your border unto the entrance of Hamath ; and the goings forth of the border shall be to Zedad : (v 9) And the border shall go on to Ziphron, and the goings out of it shall be at Hazar-enan : this shall be your north border."
The East border. —(v. 10) "And ye shall point out your east border from Hazar-enan to Shepham : (v. 11) And the coast shall go down from Shepham to Riblah, on the east side of Ain ; and the border shall descend, and shall reach unto the side of the sea of Chinnereth eastward : (v. 12) And the border shall go down to Jordan, and the goings out of it shall be at the salt sea : this shall be your land with the coasts thereof round about."[20]
Boundaries of the 'Promised Land' given by Jerome c.400
You may delineate the Promised Land of Moses from the Book of Numbers (ch. 34): as bounded on the south by the desert tract called Sina, between the Dead Sea and the city of Kadesh-barnea, [which is located with the Arabah to the east] and continues to the west, as far as the river of Egypt, that discharges into the open sea near the city of Rhinocolara; as bounded on the west by the sea along the coasts of Palestine, Phoenicia, Coele‑Syria, and Cilicia; as bounded on the north by the circle formed by the Taurus Mountains[21] and Zephyrium and extending to Hamath, called Epiphany‑Syria; as bounded on the east by the city of Antioch Hippos and Lake Kinneret, now called Tiberias, and then the Jordan River which discharges into the salt sea, now called the Dead Sea.[22][23]
1845: Salomon Munk, Palestine, Description Géographique, Historique et Archéologique," in "L'Univers Pittoresque ;
Under the name Palestine, we comprehend the small country formerly inhabited by the Israelites, and which is today part of Acre and Damascus pachalics. It stretched between 31 and 33° N. latitude and between 32 and 35° degrees E. longitude, an area of about 1300 French: lieues carrées. Some zealous writers, to give the land of the Hebrews some political importance, have exaggerated the extent of Palestine; but we have an authority for us that one can not reject. St. Jerome, who had long traveled in this country, said in his letter to Dardanus (ep. 129) that the northern boundary to that of the southern, was a distance of 160 Roman miles, which is about 55 French: lieues. He paid homage to the truth despite his fears, as he said himself, of availing the Promised Land to pagan mockery, "Pudet dicere latitudinem terrae repromissionis, ne ethnicis occasionem blasphemandi dedisse uideamur".[24][25]
See also[edit]
Battle of Refidim
Conquest of Canaan
Abrahamic Covenant
Greater Israel
Land of Israel
Southern Levant
Who is a Jew?
References[edit]
Jump up ^ "(With reference to Palestinians in Ottoman times) Although proud of their Arab heritage and ancestry, the Palestinians considered themselves to be descended not only from Arab conquerors of the seventh century but also from indigenous peoples who had lived in the country since time immemorial, including the ancient Hebrews and the Canaanites before them. Acutely aware of the distinctiveness of Palestinian history, the Palestinians saw themselves as the heirs of its rich associations." Walid Khalidi, 1984, Before Their Diaspora: A Photographic History of the Palestinians, 1876–1948. Institute for Palestine Studies
^ Jump up to: a b Sizer, Stephen (2007). Zion's Christian Soldiers? The Bible, Israel and the Church.
Jump up ^ Kol Torah, vol. 13, no. 9, Torah Academy of Bergen County, Nov 8, 2003
^ Jump up to: a b See 6th and 7th portion commentaries by Rashi
Jump up ^ Stuart, Douglas K., Exodus, B&H Publishing Group, 2006, p. 549
Jump up ^ Tyndale Bible Dictionary, Walter A. Elwell, Philip Wesley Comfort, Tyndale House Publishers, Inc., 2001, p. 984
Jump up ^ "Edersheim Bible History - Bk. 1, Ch. 10". Retrieved 13 March 2016.
Jump up ^ "Edersheim Bible History - Bk. 1, Ch. 13". Retrieved 13 March 2016.
Jump up ^ "Albert Barnes Notes on the Bible - Genesis 15". Retrieved 13 March 2016.
Jump up ^ "Genesis 15 Commentary - John Gill's Exposition on the Whole Bible". StudyLight.org. Retrieved 13 March 2016.
Jump up ^ Parshah In-Depth - Lech-Lecha
Jump up ^ Doe, John. "Where the World Comes to Study the Bible". Bible.org. Archived from the original on 2009-04-13. Retrieved 2016-03-13.
Jump up ^ "Methodists and Roman Catholics". Third Millennium Ministries. Retrieved 13 March 2016.
Jump up ^ "The Promises to Isaac and Ishmael". Retrieved 13 March 2016.
Jump up ^ "GOD CALLS ABRAM ABRAHAM". Retrieved 13 March 2016.
Jump up ^ "Nigeriaworld Feature Article - The Abrahamic Covenant: Its scope and significance - A commentary on Dr. Malcolm Fabiyi's essay". Nigeria World. Retrieved 13 March 2016.
Jump up ^ Biblical commentary on the Old Testament, Volume 1, Carl Friedrich Keil, Franz Delitzsch, p. 224
Jump up ^ "Conversion to Judaism Resource Center". Retrieved 13 March 2016.
Jump up ^ Burge, Gary M (2014). "The New Testament and the land". In Paul S Rowe, John H.A. Dyck, Jens Zimmermann. Christians and the Middle East Conflict. Routledge. ISBN 9781317801115. Thus if you were a child of Abraham by race you inevitably were heir to the great land promises in the Holy Land ... Paul challenges the exclusivity of racial descent from Abraham. Children of Abraham consist of people - Jews and Gentiles - who share Abraham's faith. And the promise of God, he notes, comes to Abraham and his seed (singular) and this seed is Christ (Gal. 3:16). Thus Christ is the true heir of Abraham and his promises. And if we belong to Christ, we too are attached to Abraham and the promises given to him. Again, for the non-Jewish Christian, it is hard to imagine the impact of this theological subversion. Paul has upended one of the chief arguments for exclusive Jewish privilege in the Holy Land ... If you want a glimpse of just how striking Paul's rethinking of this could be, just look at Romans 4:13. Here Paul refers directly to the inheritance of Abraham. This was the gift of Canaan, the Holy Land and Israel! And yet look at what Paul actually says: the promise to Abraham was that he would inherit the entire world. How can that be? This is not in Genesis. But it can be true in only one way: the family of Abraham now includes the Gentiles - Gentiles living throughout the world: Romans, Greeks, Cappadocians, Arabs - and they now, inasmuch as they belong to Christ, also belong to Abraham. God's new claim is not for the restoration of Judaea. It is not for a political rebuilding of the Holy Land. God's new claim is for the entire world; His people in Christ will be instruments of that claim. CS1 maint: Uses editors parameter (link)
Jump up ^ Henry P. Linton (1884). Notes on the book of Numbers. pp. 169–170. Image of p. 170 at Google Books
Jump up ^ Bechard, Dean Philip (1 January 2000). Paul Outside the Walls: A Study of Luke's Socio-geographical Universalism in Acts 14:8-20. Gregorian Biblical BookShop. pp. 203–205. ISBN 978-88-7653-143-9. In the Second Temple period, when Jewish authors were seeking to establish with greater precision the geographical definition of the Land, it became customary to construe “Mount Hor” of Num 34:7 as a reference to the Amanus range of the Taurus Mountains, which marked the northern limit of the Syrian plain (Bechard 2000, p. 205, note 98.)
Jump up ^ Sainte Bible expliquée et commentée, contenant le texte de la Vulgate. Bibl. Ecclésiastique. 1837. p. 41. Quod si objeceris terram repromissionis dici, quae in Numerorum volumine continetur (Cap. 34), a meridie maris Salinarum per Sina et Cades-Barne, usque ad torrentem Aegypti, qui juxta Rhinocoruram mari magno influit; et ab occidente ipsum mare, quod Palaestinae, Phoenici, Syriae Coeles, Ciliciaeque pertenditur; ab aquilone Taurum montem et Zephyrium usque Emath, quae appellatur Epiphania Syriae; ad orientem vero per Antiochiam et lacum Cenereth, quae nunc Tiberias appellatur, et Jordanem, qui mari influit Salinarum, quod nunc Mortuum dicitur; (Image of p. 41 at Google Books)
Jump up ^ Hieronymus (1910). "Epistola CXXIX Ad Dardanum de Terra promissionis (al. 129; scripta circa annum 414ce)". Epistularum Pars III —Epistulae 121-154, p. 171 (The fifty-sixth volume of Corpus Scriptorum Ecclesiasticorum Latinorum also known as the Vienna Corpus: Letters Part 3, Containing letters 121-154 of St. Jerome.) Image of p. 171 at Archive.org
Jump up ^ Munk, Salomon (1845). Palestine: Description géographique, historique et archéologique (in French). F. Didot. pp. 2–3. Sous le nom de Palestine, nous comprenons le petit pays habité autrefois par les Israélites, et qui aujourd'hui fait partie des pachalics d'Acre et de Damas. Il s'étendait entre le 31 et 33° degré latitude N. et entre le 32 et 35° degré longitude E., sur une superficie d'environ 1300 lieues carrées. Quelques écrivains jaloux de donner au pays des Hébreux une certaine importance politique, ont exagéré l'étendue de la Palestine; mais nous avons pour nous une autorité que l'on ne saurait récuser. Saint Jérôme, qui avait longtemps voyagé dans cette contrée, dit dans sa lettre à Dardanus (ep. 129) que de la limite du nord jusqu'à celle du midi il n'y avait qu'une distance de 160 milles romains, ce qui fait environ 55 lieues. Il rend cet hommage à la vérité bien qu'il craigne, comme il le dit lui-même de livrer par la terre promise aux sarcasmes païens. (Pudet dicere latitudinem terrae repromissionis, ne ethnicis occasionem blasphemandi dedisse uideamur)
Jump up ^ Munk, Salomon; Levy, Moritz A. (1871). Palästina: geographische, historische und archäologische Beschreibung dieses Landes und kurze Geschichte seiner hebräischen und jüdischen Bewohner (in German). Leiner. p. 1. Image of p. 1 at Google Books
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