This is my A2 coursework for English Literature A on AQA. I thought it would be useful to upload as I know I would have appreciated some example essays to reference when preparing my own!
In Marx’s theory of alienation, it is suggested that social estrangement is a consequence of the classes into which society is stratified. In addition, alienation is presented as a fourfold concept: man is alienated from his products, through the process of production, from himself and from society. This notion, that alienation is ‘the loss of [the person]’1, is reflected in the depiction of alienation in ‘Hamlet’, ‘A Streetcar Named Desire’ and ‘The Bell Jar’. In these texts, the protagonists’ isolation is conveyed through motifs of sexuality, death, mirrors and water, and is portrayed as a construct not only imposed by others on the person, but also generated by them.
Across all of the texts there are numerous examples of how the characters are alienated from society. In ‘Hamlet’, Shakespeare immediately juxtaposes visual images of Hamlet against the rest of the court in an effort to highlight his striking alienation. The introduction of Claudius construes images of detachment and briskness, as demonstrated by his disregard for the king’s death: ‘now for ourself and for this time of meeting’2. Here, Claudius seems keen to emphasise his authority rather than dwell on the old king’s memory. On the other hand, Hamlet is depicted as sorrowful and morose, with one critic suggesting that his ‘appearance is at odds with the rest of the court’ but that he ‘makes it clear that these differences are not a matter merely of appearance’3. This perception is reinforced when Hamlet insists that his grief is not the ‘actions that a man might play’4- insinuating that his emotions are instilled deep within him, and alluding to the corruption and facades that ravage Denmark. This distinction was physically represented in the Branagh adaptation in Hamlet’s opening scene where he was portrayed as isolated in a corridor, with his black attire of mourning deviating from the colourful garments of the court, notably Claudius and Gertrude.
The way in which Hamlet is alienated from his environment and peers is developed through his attack on Ophelia. Hamlet employs a metaphor of makeup to denounce not only Ophelia, but all females for their ability to conceal their sins and ‘make [themselves] another [face]’5 with cosmetics. This produces the idea that Hamlet is aware of the corruption that afflicts the Danish court, and feels alienated as he cannot trust anyone. This idea is continued when the prince instructs Ophelia to ‘get…to a nunnery’6 in order to avoid becoming a ‘breeder of sinners’7. Here, Hamlet can be regarded as more protective than demanding as he wants to prevent Ophelia from being harmed by the dishonesty of men. Alternatively, it can be considered that Hamlet is simply condemning Ophelia’s sexuality. Interestingly, although Hamlet feels he is alienated from the court through their ‘Machiavellian’ schemes, it can be argued that Ophelia is equally isolated in this scene. In spite of the accusations and insults Hamlet throws at Ophelia, she fails to defend herself, instead replying ‘o, help him, you sweet heavens’8. As a female in an Elizabethan court, many critics believe that her depiction as a ‘creature of lack’9 was due to her social standing. This correlates with Marx’s theory: Ophelia’s social alienation is caused by her gender.
Hamlet’s repugnance directed towards women is likely to be the result of Gertrude’s actions. Some- most notably Freud- have used an Oedipal interpretation to explain Hamlet’s maternal relationship: ‘not only does [Hamlet] desire [Gertrude] he also feels she has betrayed him, because he once thought her the virginal object of his…affections’10. The observation that Hamlet feels betrayed by his mother is compounded by his accusation in Act Three, Scene Four that she has ‘[killed] a king and [married]…his brother’11- Hamlet views Gertrude as incestuous, manipulative and destructive after her ill-considered marriage to Claudius. In addition, Hamlet’s obsession with his mother’s sexuality throughout the play supports a Freudian interpretation. Hamlet states Gertrude and Claudius ‘[make] love’ in ‘the rank sweat of an enseamèd bed, stewed in corruption’12. The vile imagery of ‘sweat’ and ‘stewed’ has been used to juxtapose the connotations of ‘love’ to depict Gertrude and Claudius’ relationship as unnatural. Consequently it can also perhaps be argued that Hamlet feels jealous.
In a similar fashion, Esther is deprived of a functional, affectionate maternal relationship. According to a contemporary reviewer ‘Esther’s aversion from her mother is obvious’ as Mrs Greenwood constitutes ‘a threat to her integrity’13. This conclusion is supported when Esther states ‘I hate [my mother]’14- she partly blames Mrs Greenwood for her mental incapacity, perhaps because she is consumed by guilt after inflicting so much pain on her. Another motive for Esther’s estrangement is that she feels her mother does not understand her and instead contributes to the pressures that she experiences to fulfil the female stereotype of marriage and children: ‘she was always on me to learn shorthand…so I’d have a practical skill’15. Here, Mrs Greenwood is portrayed as rigid and loveless- she cannot sympathise with Esther so tries to improve her. This draws parallels between Plath’s novel and ‘Hamlet’ as both protagonists blame their mothers for hurting them and are subsequently alienated as a direct result of this. Hamlet employs a lexical field of decay with vocabulary such as ‘mildewed’16 and ‘rank’17 to associate the downfall of Denmark and his father’s demise with Gertrude.
In a similar way to the opening scenes of Hamlet, throughout the initial scenes of ‘The Bell Jar’ Esther’s alienation is heightened. Immediately, she is depicted as unable to understand or relate to her surroundings; the personification of the subway as a ‘fusty, peanut-smelling mouth’ generates tones of discomfort and disgust as even the inanimate facets of society repulse Esther. In addition, the extensive use of the morbid imagery of ‘[cadavers]’ that Esther is ‘carrying…around’18 suggests that she feels weighted by death and to an extent, some form of responsibility as she bears the burden alone, thus intensifying her alienation from society. Esther later reveals that she feels ‘still and…empty’ like ‘the eye of a tornado’19, which creates not only images of separation, but also of complete indifference. The juxtaposition of ‘still’ and ‘tornado’ also serves to emphasise this concept, as it appears that existential forces hold no impact on Esther’s internal consciousness and the simile of a ‘tornado’, which is a natural happening, implies that her isolation is unstoppable and relentless.
Esther’s isolation from her surroundings increases in chapters two and three by her accompaniment with Doreen to Lenny’s ‘place’. Here, Plath portrays Esther’s discomfort in a striking manner. The ambiguity of Lenny’s ‘place’ itself suggests an element of danger about the character that is reinforced by his footsteps being likened to ‘pistol shots’; the simile communicates the atmosphere of risk that Esther feels exposed to. Furthermore, the imposing figure of Lenny reflects the male influence in society that Esther feels constrained by. Esther’s repetition of ‘pine panel’20 whilst describing Lenny’s apartment produces a suffocating atmosphere: the ceaseless pattern is a metaphor for the male figures that dominate and confine her.
Esther and Hamlet’s physical and mental displacement from society is also reflected in the opening scene of ‘A Streetcar Named Desire’. The play begins by immersing the audience mid-conversation, creating a tone of confusion which clearly emulates the emotions of Blanche upon her arrival to the foreign town. Blanche is identified as ‘incongruous’ to the setting, with her ‘white’21 attire connoting images of frailty, purity and innocence. Meanwhile, Stanley is introduced in ‘blue denim work clothes’22 to highlight the class divide between the two. In many ways it is Stanley’s presence that alienates Blanche. As a story of desire, deception and double crossing, the play can be likened to a poker match; Blanche and Stanley acting as the players and affections of Stella representing their prize. Therefore, Stanley and Blanche are depicted as conflicting parties from the start: Stanley is a brash, masculine and aggressive player whereas Blanche is weak, feminine and romantic. In Scene Four, Stanley’s constriction of Blanche is physically emphasised as he ‘clasps [Stella’s] head to him’ and ‘grins’23 at Blanche. Clearly, Stella is oblivious to Stanley’s malicious stare and her blindness towards Blanche demonstrates how he is responsible for Blanche’s isolation. Once Blanche appropriates herself with Mitch, Stanley’s friend, he confines her again as Mitch becomes the new reward. It has been noted by Michael Billington that the relationship between Blanche and Mitch is essentially ‘two helpless people desperately reaching out to each other’24. This view implies that Blanche is dependent on Mitch for her security and survival in society, and the removal of this would not only estrange her, but devastate her. By exposing Blanche’s sordid past to Mitch, Stanley has consolidated her downfall as Mitch exclaims ‘I don’t think I want to marry you anymore’25. Consequently, Stanley has succeeded in alienating Blanche from a figure of security, which arguably provokes her breakdown.
It can be viewed that the isolation explored across the texts is not only imposed on the individuals, but also produced by their own conduct. Shakespeare’s presentation of Denmark as demoralised contributes to this notion; the critic J.Sutcliffe has suggested that ‘Hamlet is partly defined by his honesty in contrast to the slipperiness that surrounds him’26. Indeed, Hamlet is conscious of this contrast, as conveyed through the metaphor ‘Denmark’s a prison’27. The noun ‘prison’ expresses Hamlet’s limitations as he feels estranged and trapped by the corruption of the state. Furthermore, the declarative nature of the sentence positions Hamlet as unarguable and certain in his condemnation. The idea of Denmark as a prison and the constant scrutiny of Hamlet was successfully symbolised through the use of CCTV camera angles in the 2009 RSC production. In order to combat this alienation, Hamlet assumes an ‘antic-disposition’28. His pretence of madness, however, somewhat contradicts the critic’s view as he actually embraces the ‘[slippery]’ nature of the court. Hamlet’s separation as a result of the façade is highlighted when he approaches Ophelia with his ‘stocking fouled’29 and ‘knees knocking’30. It can be argued that Hamlet has physically debased himself to intensify the portrayal of madness. However, Hamlet’s exit ‘without his eyes’31 could also indicate that the encounter may have been a romantic farewell as he sacrifices his relationships.
Comparatively, Blanche’s façade in ‘A Streetcar Named Desire’ also advances her separation as she is drawn away from the new-America symbolised by Stella and Stanley. The reviewer D. Vaughan has commented that Blanche’s ‘fear of the realities of her life make [her] adopt a persona which aggravates those who notice how fake it really is’32. This is exemplified throughout the play with Stanley’s dubious behaviour and rejection of romanticism- he says ‘I don’t go in for that stuff’33 when Blanche appeals for compliments and later assures her ‘nobody’s going to get up’34 when she implores them not to inconvenience themselves for the sake of pleasantries. In addition, Blanche criticises Stanley’s primitive, fundamental view of the world by calling him ‘sub-human’ and ‘ape-like’35, but her persona is a façade created to conceal her past and so when the truth is revealed, Blanche appears to be conceited and hypocritical. Blanche’s behaviour alienates her from new-America as she imposes her presence on others.
Much like her counterparts, Esther assumes a false identity to serve a purpose. When Esther introduces herself as ‘Elly Higginbottom’36, her inner conflict is developed as she uses the name to obscure her errors: ‘nobody would know I had thrown up a scholarship…mucked up…and refused…a husband’37. The notion that Esther presents one layer of her identity to others can be understood with the model ‘Roger’s Concentric Circles’. The model indicates that the ‘public self’ is a form of identity deliberately presented to others whilst the ‘private self’ is only revealed to those close to the person and the ‘core self’ is the subconscious identity. Evidently, Esther, Blanche and Hamlet all create a ‘public self’ to conceal their ‘core self’, which is often resented by the protagonists: Hamlet wants to be more impulsive, Esther wants to be successful and Blanche wants to avoid her past.
Images of death that are featured across the texts also reflect themes of alienation. One example of this is the motif of flowers. In ‘Hamlet’, Ophelia gives away flowers such as ‘rosemary…for remembrance’ and ‘pansies …for thoughts’38 in an act of insanity, suggesting that she has grown detached from reality and is perhaps reflecting Hamlet’s alienation in Act One, Scene Two. An alternate view of this scene, supported by the critic Elaine Showalter, is that Ophelia is liberated after ‘symbolically deflowering herself’39 and therefore her distribution of flowers is intentionally provocative. Ophelia’s alienation culminates with her death in Act Four, Scene Seven. Again, Ophelia is alienated from the ‘Machiavellian’ schemes of the court as both her madness and suicide are simply attributed to the death of Polonius: Claudius states that her insanity ‘springs all from her father’s death’40. The 2009 RSC production of ‘Hamlet’ used a contrast between the white attire of Ophelia and the dark, oppressive setting of the court to physically reflect her social alienation.
In ‘The Bell Jar’, flowers are also used as a device to symbolise mental decline. Esther removes the flowers she regards as ‘dead’ from a bouquet to make it attractive and subsequently ‘[picks] out all those that were dying’41. The separation of this sentence and its simple, declarative structure generates an idea of inner-turmoil as Esther is estranged from herself. Later, Mrs. Greenwood offers Esther flowers and she replies ‘save them for my funeral’. Despite the tone of morbidity, it can be considered that the flowers signify enlightenment for Esther: after rejecting the flowers and declaring her hatred for her mother, Dr. Nolan ‘only smiles’42. The critic Steven Axelrod has indicated that Esther has ‘identified a root cause of her alienation’43 and so can embark on recovery.
The presentation of flowers in Williams’ play draws parallels to their purpose in both ‘Hamlet’ and ‘The Bell Jar’. Blanche hysterically rants about the ‘long parade to the graveyard’ that she has witnessed in the DuBois family. The ‘pretty flowers’ are used as an illusion to conceal the horror of death, or reality, which is arguably a metaphorical echo of Blanche’s conduct. Furthermore, the deaths are depicted as relentless through the metaphor, ‘the Grim Reaper himself had put up his tent’44. Consequently, much like Ophelia’s mental recession with the dispersion of flowers, it would appear that Blanche’s psychological capacity has been gradually undermined and as a result she has been alienated mentally. Whilst Plath has developed a concept of flowers as a symbol of reconnection with reality and society, in ‘A Streetcar Named Desire’ they contradict this. The appearance of a blind Mexican woman selling ‘flores para los muertos’45- flowers for the dead- not only produces an atmosphere of tension and foreboding, it also suggests that Blanche is fully alienated from her surroundings.
Themes of death are more explicitly referenced through fatalities. As a tragedy, ‘Hamlet’ is centred on bereavement: the plot is initiated after the murder of the king, Polonius and Ophelia are the casualties of a corrupt kingdom and the multiple deaths concluding the play symbolise the end of this corruption. It is arguably the drowning of Ophelia that provides a culminating point of both alienation and morbidity. It can be viewed that Ophelia’s suicide was motivated by her isolation, as the feminist critic L. Dewards has concluded that ‘Ophelia literally has no story without Hamlet’46. This perception is reinforced by the figures of both Polonius and Hamlet, as their domination of Ophelia is responded to with ‘I shall obey, my lord’47. Therefore when Laertes leaves, Hamlet rejects her and Polonius dies Ophelia is left entirely without function or direction and literally bears no influence on the plot.
The relation between the feminine figure of Ophelia and death is similar to that of Blanche. Blanche appears to fear death and growing old because she depends on marriage for protection, as emphasised by her desire to ‘rest’48 once she has secured Mitch’s affections. This clearly bears similarity to Ophelia’s circumstances; Blanche believes that she needs a male presence to be relevant. In addition, Blanche’s attempts to assert her sexuality over characters such as the young man in Scene Five may be an effort to recall her innocence before the death of Allan. Allan himself can be regarded as a metaphorical technique for the death of her ambitions, as reflected when Blanche states that the ‘searchlight’ representing love and enlightenment, was ‘turned off’49. This concept is expanded by the streetcar ‘Desire’- obviously signifying Blanche’s sexuality- and her transfer to one named ‘Cemeteries’ which brings her to ‘Elysian Fields’50. The foreboding tones here indicate that it is Blanche’s sexual passions that contribute to her alienation and downfall.
Themes of sexuality, death and alienation are also developed in Plath’s novel. Esther comments that she feels ‘part of a great tradition’51 when she bleeds after losing her virginity and the depiction of blood is reminiscent of the physical sacrifice that she has made. It has been implied that ‘Esther channels much of her energy into men as…a means of losing her virginity’52, a concept that is reinforced by the simile of her virginity ‘[weighing] like a millstone around [her] neck’53. Consequently, Esther has emotionally isolated herself from potential romantic interests.
Shakespeare, Williams and Plath also present a sense of estrangement through the extended symbolism of mirrors. In Williams’ play, Blanche’s yearning to conform to the expectations of 1950’s society has defined her: she constantly seeks approval of her appearance as she views it as paramount to the success of finding a husband. This is the cause of Blanche’s aversion to light, which also acts as an embodiment for truth, suggesting that the societal standards have pushed Blanche towards mental incapacity. Moreover, in Scene Ten, Blanche ‘slams’ her hand mirror down, causing the glass to ‘[crack]’54. This impulsive and violent action seems more like that of Stanley and the fragmented glass clearly represents Blanche’s distorted and fragile grasp of reality, which pushes her into an alienated state.
In ‘The Bell Jar’ Esther is also portrayed as depressed by her reflection. Upon viewing her reflection, Esther likens herself to a ‘smudgy-eyed Chinese woman’55 and ‘a sick Indian’56. In 1950’s America, these cultural identities were minorities and by aligning herself with them, Esther conveys her feeling of alienation from the majority. Furthermore, Esther’s inability to recognise herself displays how disembodied she is, until her reflection ‘gradually becomes a stranger’57.
Much like Esther and Blanche, Ophelia attempts to reflect what others, most specifically the male influences in her life, demand. The critic Heather Brown views Ophelia as a ‘looking-glass’ for the male characters to ‘[cast] their reflection upon…showing…the audience their power over her’58 which is supported by both Laertes and Polonius’ disapproval of Hamlet’s affections for her. When Laertes urges Ophelia to ‘fear’59 the prince’s advances, she assures him that his warning is ‘in [her] memory locked’60- Ophelia fails to directly question Laertes’ authority and instead mirrors his desires, alienating herself from Hamlet. However, once these male presences are removed Ophelia has no one to reflect and therefore no purpose. What is more, the nature of Ophelia’s death also employs mirror imagery. Gertrude’s revelation that she has drowned draws connotations of the water acting as a mirror. Therefore, the personification of the water ‘[pulling] the poor wretch…to muddy death’61 insinuates that, ultimately, Ophelia’s compliant, nondescript and passive conduct caused her alienation and death, much like Blanche. Ophelia’s conduct throughout ‘Hamlet’ can be attributed to the historical context of the piece- in Elizabethan society women were considered inferior to men and subsequently possessed less influence, much like Ophelia.
In stark contrast, the motif of water presented in ‘The Bell Jar’ and ‘A Streetcar Named Desire’ represents a form of renewal or cleansing for the protagonists. Esther recounts how she lowers herself ‘inch by inch’ into a bath ‘so hot you can barely stand putting your foot in it’62. This conveys how Esther feels she has to punish herself in a habitual manner and her inner-conflict as she is estranged from herself. The bath also acts as a process of rebirth for Esther, implying that she wants to be reborn in order to eradicate her sins and restore her innocence, much like Blanche: ‘I felt pure and sweet as a new born baby’63.
Likewise, Blanche’s bathing habit is an effort to purge herself of her past. Stanley’s repeated opposition to Blanche’s dwelling in the bathroom is conveyed in Scene Seven when he bellows at Blanche to ‘get out of the bathroom!’64 The exclamative nature of this sentence communicates Stanley’s anger and serves to embody his rejection of Blanche’s cleansing process and her attempts to reverse her alienation. When he later enters the bathroom in Scene Ten, Stanley has made the final violation of Blanche’s values as the bathroom is her only sanctuary.
In conclusion, the presentation of alienation across the texts is intrinsically similar through the comparable origins of the isolation, its depiction as pervasive and its affliction upon the protagonist. For Hamlet, his alienation from the court and society, and also from intimate relationships such as those with his mother, friends and lover is only discontinued through his death in Act Five, Scene Two. The root cause of Hamlet’s alienation is arguably the murder of his father but is gradually intensified by his mother’s sexual promiscuity and the ‘Machiavellian’ schemes of the court. Likewise, Blanche’s alienation and the madness that it provokes is caused by the untimely death of her husband Allan, but in a contrast to ‘Hamlet’ her fate is left undetermined as she is finally removed from the ‘New American’ society (symbolised through Stanley and Stella) that she failed to accept. Finally, Esther, whose alienation is widely attributed to the death of her father, is incarcerated from society as a result of her alienation. Much like Blanche, Esther’s fate is ambiguous; however, the concluding tones are ones of optimism, suggesting that Esther may have resolved her mental and physical alienation from society.
Bibliography
Set texts:
· ‘Hamlet’ by William Shakespeare; Penguin Books (1980)
· ‘A Streetcar Named Desire’ by Tennessee Williams; Penguin Modern Classics (2009)
· ‘The Bell Jar’ by Sylvia Plath; Faber and Faber Limited (2005)
Critical resources:
· ‘Representing Ophelia: Women, Madness, and the Responsibilities of Feminist Criticism’, Elaine Showalter; Boston: St. Martins Press (1994)
· ‘The Separative Self in Sylvia Plath’s The Bell Jar’, Diane S. Bonds; Gordon and Breach Science Publishers S.A. (1990)
· ‘A Ritual for Being Born Twice: Sylvia Plath’s The Bell Jar’, Marjorie G. Perloff; The Gale Group (1999)
· Economic and Philosophic Manuscripts of 1844, Karl Marx
· ‘Alienation and Renewal in The Bell Jar’, Steven Axelrod; University of California Riverside (2010)
· ‘Gender and Identity in Hamlet: A Modern Interpretation of Ophelia’, Heather Brown; https://www.westminstercollege.edu/
· ‘The Bell Jar Essays and Criticism’; Gale Cengage (2002)
· ‘The Labors of Psyche’, L. Dewards
· ‘Hamlet’s ‘Adventurous Knight’’, Joe Sutcliffe (2013)
· ‘A Streetcar Named Desire review’, Michael Billington; The Guardian (2014)
· ‘Man’s Estate: Masculine Identity in Shakespeare’, Coppélia Kahn; University of California Press (1981)
· ‘Hamlet and the Audience’, John Hudson (2012)
· ‘How Does Blanche’s Fear of Reality Alienate Her?’, D. Vaughan; eNotes (2011)
1 Economic and Philosophic Manuscripts of 1844
2 ‘Hamlet’, 1.2.26
3 ‘Hamlet and the Audience’, John Hudson
4 ‘Hamlet’, 1.2.84
5 ‘Hamlet’, 3.1.144-145
6 ‘Hamlet’, 3.1.121
7 ‘Hamlet’, 3.1.122
8 ‘Hamlet’, 3.1.134
9 ‘Representing Ophelia: Women, Madness and the Responsibilities of Feminist Criticism’, Elaine Showalter
10 ‘Man’s Estate: Masculine Identity in Shakespeare’, Coppélia Kahn
11 ‘Hamlet’, 3.4.30
12 ‘Hamlet’, 3.4.94-95
13 ‘The Separative Self in Sylvia Plath’s The Bell Jar’, Diane S. Bonds
14 ‘The Bell Jar’, Page 195
15 ‘The Bell Jar’, Page 36
16 ‘Hamlet’, 3.4.64
17 ‘Hamlet’, 3.4.94
18 ‘The Bell Jar’, Page 1
19 ‘The Bell Jar’, Page
20 ‘The Bell Jar’, Page 13
21 ‘A Streetcar Named Desire’, Scene One, Page 3
22 ‘A Streetcar Named Desire’, Scene One, Page 2
23 ‘A Streetcar Named Desire’, Scene Four, Page 48
24 ‘A Streetcar Named Desire review’, Michael Billington
25 ‘A Streetcar Named Desire’, Scene Nine, Page 89
26 ‘Hamlet’s ‘Adventurous Knight’’, Joe Sutcliffe
27 ‘Hamlet’, 2.2.243
28 ‘Hamlet’, 1.5.172
29 ‘Hamlet’, 2.1.79
30 ‘Hamlet’, 2.1.81
31 ‘Hamlet’, 2.1.98
32 ‘How Does Blanche’s Fear of Reality Alienate Her?’, D. Vaughan
33 ‘A Streetcar Named Desire’, Scene Two, Page 21
34 ‘A Streetcar Named Desire’, Scene Three, Page 29
35 ‘A Streetcar Named Desire’, Scene Four, Page 47
36 ‘The Bell Jar’, Page 11
37 ‘The Bell Jar’, Page 127
38 ‘Hamlet’, 4.5.176-177
39 ‘Representing Ophelia: Women, Madness and the Responsibilities of Feminist Criticism’, Elaine Showalter
40 ‘Hamlet’, 4.5.77
41 ‘The Bell Jar’, Page 156
42 ‘The Bell Jar’, Page 195
43 ‘Alienation and Renewal in The Bell Jar’, Steven Axelrod
44 ‘A Streetcar Named Desire’, Scene One, Page 12
45 ‘A Streetcar Named Desire’, Scene Nine, Page 88
46 ‘The Labors of Psyche’, L. Dewards
47 ‘Hamlet’, 1.3.136
48 ‘A Streetcar Named Desire’, Scene Five, Page 55
49 ‘A Streetcar Named Desire’, Scene Six, Page 67
50 ‘A Streetcar Named Desire’, Scene One, Page 3
51 ‘The Bell Jar’, Page 219
52 ‘The Bell Jar Essays and Criticism’, Gale Cengage
53 ‘The Bell Jar’, Page 218
54 ‘A Streetcar Named Desire’, Scene Ten, Page 90
55 ‘The Bell Jar’, Page 17
56 ‘The Bell Jar’, Page 108
57 ‘A Ritual for Being Born Twice: Sylvia Plath’s The Bell Jar’, Marjorie G. Perloff
58 ‘Gender and Identity in Hamlet: A Modern Interpretation of Ophelia’, Heather Brown
59 ‘Hamlet’, 1.3.33
60 ‘Hamlet’, 1.3.86
61 ‘Hamlet’, 4.7.182
62 ‘The Bell Jar’, Page 18
63 ‘The Bell Jar’, Page 19
64 ‘A Streetcar Named Desire’, Scene Seven, Page 75
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