Play Review Sheet – The Glass Menagerie
Playwright: Tennessee Williams
Production Date: 1944
Nationality of Playwright: American
Type/Genre: Tragedy
CHARACTERS –
1. Names of Major Characters Include labels, probably relationship tags eg wife of…
2. Names of the Minor Characters. In general, what functions do the minor characters serve?
3. Who is the protagonist? Justify your choice briefly. What is the protagonist’s objective?
4. Who is the antagonist? Justify your choice briefly. How does the antagonist block the
protagonist?
Major Characters
Tom Wingfield – is the narrator of the play who presents the actions of the play through his
memory. On the one hand, he addresses the audience directly to provide a more detached
assessment of the events of the play and on the other hand, he displays his true emotions through
his participation in the play. Tom works in a shoemaker’s warehouse but finds a particular
preference towards writing poetry and reading literature. He lives with his mother, Amanda, and
sister, Laura, and functions as the principal provider for the family. Tom feels trapped when he is
at work and at home, especially by the ideals imposed on him and his sister by their mother, and
thus spends most of his evenings at the movies. He cares for them, especially Laura, as witnessed
in his speech at the close of the play when he recognizes his broken promise to her. However,
Tom acts with frustration and indifference towards them throughout the play.
Amanda Wingfield – mother of Tom and Laura. Through Tom’s narration of the play, she
appears to be constantly nagging of Tom and increasingly concerned for Laura’s future marriage
and life prospects. Amanda has a hard time coming to terms with both the family’s economic
situation and Laura’s introverted personality. Visited by many gentlemen callers when younger,
Amanda does not want to let go of these family traditions and thus is seen to refer to her past as a
way of retreating from reality. She fulfills the roles of a mother by providing encouragement for
both her children towards achieving better conditions for themselves, which is the only time that
Amanda thinks about the future.
Amanda is the mother of both Laura and Tom. She is originally from the south, which explains
her southern belle façade. Amanda is idyllic and wishes Laura to find a suitor.
Laura Wingfield – daughter of Amanda and sister to Tom. Both physically and emotionally
crippled, Laura distracts herself from reality by playing with her glass menagerie collection, in
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particular the individual unicorn, as well as records on the Vitrola. The glass menagerie parallel’s
Laura’s character in that it has a translucent beauty and fragility to it the same way Laura appears
to be innocent and delicate in her actions. The unicorn is like Laura in the sense that they are
both unique and appear different in comparison to others (society). Despite her own problems
with social interaction, Laura attempts to keep peace within the household by bridging the
communication gap between her brother and mother. Laura has a true selfless spirit that is
contrasted to the selfish and sacrificing behavior of the household.
Minor Characters
– Serve to move the plot forward, emphasize the play’s theme, and to enable the audience
to envision the counter-perspective of the main characters.
Mr. Wingfield (Amanda’s husband) – is apostrophized throughout the play. His presence is
constantly displayed through his photograph in the living room. He worked for a telephone
company and abandoned his family for approximately 16 years. According to Amanda’s
descriptions, he appears to have had unpleasant characteristic qualities such as drinking too much
and deserting the family.
Function –
- Descriptions foreshadow Tom’s decisions and convey the theme of escape.
- Amanda’s repetitive proclamation of Mr. Wingfield’s escape and abandonment adds
significance to the fire escape and the magician’s show (where the magician safely
escaped from the nailed up coffin.
Jim O’Connor – a shipping clerk in the same factory Tom works in; went to high school with
Tom and Laura; recruited to be the gentleman caller.
Functions- Is “the long awaited but always something that we live for.” Amanda- he’s a suitable
gentleman caller, ultimately husband, for Laura. Tom – an honorable way to discharge is
obligation to Laura. Laura – the love of her life.
- Tom’s last effort to meet his obligations before leaving.
ANTAGONIST:
Society: Imposes strict roles and prejudices on both males and females. Tom’s duty as the man
of the house is to provide for the family, to earn the money they need. Society also devalues his
chosen profession – writing. Because Laura is crippled, she is deemed undesirable by society.
She internalizes this notion that she is worthless and becomes helpless to deal with the world.
Amanda is required to see to it that her children are able to provide for themselves – or will be
provided for. She endures society’s prejudice against divorcees and the severe limits on the
kinds of jobs women are considered suitable for.
PROTAGONIST:
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Tom Wingfield is the protagonist and the narrator of the play. Tom participates in the play as a
younger version of him, and appears as the narrator at a later stage in his life. As the narrator, he
is reflective and warns of the ability of memory to distort the past and as the main character, he
appears to be constantly angry. Throughout the play, Tom seeks to escape from the household to
find adventure, presented by various signals associated with his character. (See symbols.)
Tom has two tragic qualities: 1) an error in judgment – when he abandons his family and 2)
exile from his family.
STAGING –
What set/sets is/are involved?
What props are involved? What is their significance?
What information is provided about costumes? What do the
costumes convey?
What kinds of stage directions are provided? What do they contribute to the play?
What other aspects of the staging are significant? How is/are it/they significant? Consider not
only lighting but also music.
[Note: Responses have been melded in the following section.]
SET – Described as, “one of those vast hive-like conglomerations of cellular living units” –
meant to indicate the divided and broken-up set-up of the apartment. “The apartment faces an
alley and is entered by a fire escape, a touch of accidental poetic truth” – highlights the
discordance between the escape present in the Wingfield home, yet the trapped mental state in
which all characters find themselves.
The set itself comprises of the living room (also
Laura’s sleeping room), and the dining room, which is
separated from the living room by an arch and transparent
gauze portieres. The color palette is mostly dark: “dark, grim
rear wall,” “dark, narrow alleys” “tangled clothes lines and
garbage cans” to evoke the sinister and dreary setting in
which the Wingfield’s live.
Verbatim composition of set, stage, and set pieces (with liberty taken in aesthetics) (Josh Cohen)
–
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Sign
The fire escape is significant for the way in which Tom uses it (to go out to the movies), which
he uses as an escape from his home and dreary family. In addition there are entrances and exits
on either side of the set, which lead to dark alleys. (See Symbols.)
The cellular floor plan of the set is to avoid fluidity, and represent how working-class families
in the twenties lived. These apartments were “symptomatic of the impulse of this largest and
fundamentally enslaved section of American society and function as one interfused mass of
automatism.” What is portrayed as a small living space also highlights the discomfort the
characters must face living together (especially Tom), as the characters have trouble escaping
each others overwhelming presence and thoughts.
The darkness allows for greater contrast through the use of light, and also allows for set pieces
(and even characters) to be washed out through the use of light when highlighting one area of the
stage. This ease of fading parts of the stage contributes to the “memory” aspect of the play. Since
memories are blurry and only certain parts remain, lights can be used to exaggerate or blur
certain parts. The dark set design also gives focus to the portrait of the father and the silk screen.
(See Symbols)
PROPS –
Glass Menagerie – symbolizes comfort, fragility, and purity. (See Symbols.)
Victrola – symbolizes Laura’s escape and her access to the world beyond the apartment.
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Listens to the music in times of searching comfort or freedom of pressures. (See Symbols.)
Fire Escape – symbolizes freedom to Tom and the possibility to leave
Constant reminder for Tom that there is always a way out and that he has the choice to take it or
not. (See Symbols.)
Rainbow Scarf – symbolizes beauty and magic
Given to Tom by a magician, thus a ‘magic’ scarf. (See Symbols.)
Father’s Portrait – (See Symbols).
Other Important Minor Props – the newspaper, typewriting, Amanda's dress, the fact that they
do not in fact have knives or forks or any silverware, cigarettes, alcohol, and especially the
candle at the end of the play.
COSTUMES
Costumes are realistic to and representative of the historical and social setting: The Wingfields
are a working-middle class family in St. Louis, 1930s. Toward the end of the period known as
the “Roaring Twenties,” American women’s fashion became more conservative in style with
lower hemlines and higher waistlines. Women wore only dresses and skirts in an effort to
achieve a feminine and socially acceptable “womanly” look.
General Comments
- All three Wingfields’ costumes reflect their social status – they are unable to purchase
correctly fitting clothing (Amanda has to alter old dresses of hers for Laura and her
husband’s robe for herself).
 [Amanda] has one of those cheap or imitation velvety –looking cloth coats with imitation
fur collar” “one of those dreadful cloche hats” (Scene 3)
 [Tom] springs up and crosses to get his coat. It is ugly and bulky.” (Scene 4)
- Amanda and Laura are usually dressed in light colors – “[Laura] wears a dress of soft violet
material” (scene 2), “Amanda and Laura in light-colored dresses” (scene 5) – possibly a
sign of weakness and fragility.
Amanda
Robe – Represents her desire to be glamorous, but also the struggle she is in as a workingmiddle class woman. She remains wrapped in her husband metaphorically – either representing
that she is trapped in a situation of his making or embraced by his memory. Moreover, robes
were associated with glamour.
Extravagant Dress (covered with lace and frills) [Scene 6] – [“a girlish frock of yellowed
voile with a blue silk sash. She carries a bunch of jonquils- the legend of her youth is nearly
revived.”] contrasts with her old age, and symbolizes her wish to be young again.
Only seen in a dress when she is preparing for Jim (a potential suitor for Laura) to come for
dinner (she is overly excited about his arrival). It is young looking. The dress contrasts with
Amanda’s character being old, however it symbolizes her wish to be young again and her need to
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appear well educated and proper. The dress is no longer in style in the 1930s – she is stuck in the
past when she was wanted by many gentlemen callers (living vicariously through Laura).
Laura
Laura is her mother’s final hope and most prized possession. Amanda who lives life through her
daughter puts importance on Laura’s appearance. Amanda makes sure that Laura is always
looking ladylike and put together. Although Laura is forced to wear a brace on her leg, it is often
covered by her long white dress. The color white is significant because it represents youth and
purity. Laura is naïve and childlike and the color white represents these distinctive qualities. She
provides a new dress for Laura for her gentleman’s caller’s visit.
Tom
Tom’s character works at a shoe factory. He can be described as very average looking. His
costume is not as symbolic as the other two. He dresses very realistically.
We are also told about the outfit of the merchant sailor when Tom first enters stage, this conveys
what he really wants to do, and shows the reader the ending of the play, since it is a memory, and
the memory belongs to Tom. His merchant marine uniform represents Tom’s new status and
foreshadows the end of the play.
MUSIC – “Glass Menagerie” http://www.youtube.com/watch?v=_WfR1PPlNTg
Functions: In the beginning, it helps to establish the feeling of memory that contributes to the
expressionist style of the play. Helps establish a tone of fragility and sadness that are definitely
the undertones of what is at times a lighter sounding tune.
There is a theme used throughout the play, ‘The Glass Menagerie,’ connecting events,
reinforcing the fact that the play is told through Tom’s memory and revealing Tom’s deep love
for Laura. The production notes describe the music as being “sorrowful, nostalgic, delicate and
light ,” and like “circus-music,” when heard at a distance to give the idea of faintly audible
music – sometimes this is in the form of sensuous dance music that drifts across the alley
contrasts with the other music in the play just as the world of Tom’s memory is in contrast with
his present world of war and change – “[Adventure and change] were waiting around the corner
for these kids. Suspended in the mist over Berchtesgaden, caught in the folds of Chamberlain’s
umbrella. In Spain, there was Guernica! But here there was only hot swing music and liquor”
(p.1742).
The music plays in and out of various dialogues and acts as transitions, and also as
emotion markers (to convey certain tones or moods created in the scene). It “weaves in and out
of our preoccupied consciousness,” and “expresses the surface vivacity of life with the
underlying strain of immutable and inexpressible sorrow,” according to Williams. The music is
also meant to indicate nostalgia and emotion (connected to memory).
Tennessee Williams makes use of music particularly when Laura and her Glass
Menagerie are in focus such as at the end of Scene 1 when Laura expresses a sad thought,
“Mother’s afraid I’m going to be an old maid.” Often the Glass Menagerie is used to conclude
each scene contributing to the idea of the sort of end of a memory and provides a transition into
the next scene allowing the play to flow and have a more fluid feel to it. It is important in
memory that one memory flows into another.
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The Music that emanates from the dance hall when Tom is telling Amanda about
inviting a gentlemen caller over is more upbeat and hopeful, as well as the Waltz that Laura and
Jim dance too carry with them a romantic hope. The song “The World Is Waiting For The
Sunrise” when Tom is talking about WWII coming.
LIGHTING –
According to Williams’ “Production Notes,” The lighting of the play is designed to
highlight the characters on stage rather than illuminating the set. It is used to focus on the
unapparent center. Williams enjoys the idea of a darker duskier set while the characters are the
ones with stronger beams of light shone on them. This could also coincide with the idea of
memory – highlighting the key parts of a memory while other smaller details remain darker and
less clear. Williams also uses light to reflect mood and characteristics of a scene.
“…during the quarrel scene between Tom and Amanda, in which Laura has no active
part, the clearest pool of light is on her figure.” With regards to Laura, light “should have a
peculiar pristine quality,” most likely to convey her innocence and fragility. The contrast
between darker and red lighting represents the contrast in the harsh reality and Laura’s
innocence. The alleys outside the house are often cast in red light as well perhaps indicating a
more ominous feel.
Laura’s lighting does shift slightly in the end of the play while talking to Jim where it is
said she is cast in a more pinkish light while talking to Jim in order to highlight her more
feminine beauteous qualities rather than her typical puritan ones. Lighting is also crucial in
addressing the key symbol of the father’s portrait. Though constantly lit in some way for most of
the play, in key instances where he is addressed metaphorically or literally his portrait lights up
even brighter drawing the audience’s attention to the omnipresent figure.
In relation to expressionism – Music, lighting and the screen device in The Glass Menagerie are
very significant as they contribute to Williams’ expressionistic approach in the writing and
production of the play. The production notes state that “Because of its considerably
delicate…material, atmospheric touches and subtleties of direction play an important part.”
“When a play employs unconventional techniques…it is actually attempting to find a closer
truth.”
STAGE DIRECTIONS –
Instead of some specific stage directions that are highly pertinent to the text, leaving the
rest of the blocking, gesturing, and vocal inflections (delivery of the lines) up to the director and
actor, Williams is extremely specific in what he asks (employing his vision forthright). Stage
directions pattern the pages with vocal inflections indicated through the use of italics, blocking
(movement on stage), facial and physical expressions, and technical aspects to an extremely
specific degree.
The diction within the stage directions is not only highly indicative of Williams’ poetic
speech patterns, but also the level of depth in the characters, and needed by the actors to portray
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the characters. On a dramatic level, these directions give the actor more to work with within the
character, but also less space for interpretation by the actor.
EXAMPLES:
See page 1724 [black book] – even in the very beginning of the play, Williams gives the
actors many directions on how they should be standing and where they should move throughout
the stage. The directions leave little room for the director to add excess movement and again,
ensure specificity in the actor and the portrayal of the character:
[TOM deliberately lays his imaginary fork down and pushes his chair back from the table.]
AMANDA [crossing out to the kitchenette, airily]
“Laura touches her lips with a nervous gesture” (Scene Two) “Closes door hesitantly”
(Scene Four) “Catching his arm- very importunately” (Scene Four)
Amanda and Tom are given adjectives to work from indicating even further how they
should move and act. These precise directions of physical movement are more specific than what
could be found in other plays (in comparison to Shakespeare for example, there is very little
freedom for the directors and actors to use their own interpretations). Amanda is not just noted to
exit, but to exit “towards the kitchenette, airily”; the actor is given a clear indicator of not only
their purpose for leaving the scene (something usually left up to the actor’s imagination and
interpretation) but also the manner in which she should leave (another insight into the mindset
and psyche of the character).
LEGENDS –
Purpose: To summarize the scene, give the audience a sign as to what the main focus of the
scene is, and enforce the main themes and symbols.
In relation to Williams, they emphasize his largely theatrical style and dislike for portraying life
realistically. The legends are so much of an alteration from reality that is congruent with other
characteristics of the play, such as the Tom’s monologues to the audience and the dream like or
memory quality to the play. “…the legend or image on screen will strengthen the effect of what
is merely illusion in writing.” – production notes.
Examples:
[“Ou sont les neiges d’antan?”]
This translates to “Where are the snows of yesteryear?” and provides a somewhat impersonal
commentary. This is a quote from a poem that celebrates famous or beautiful women.
1725 - [Image on screen: AMANDA as a girl on a porch, greeting callers.]
This legend is used to further emphasize Amanda’s nostalgia for the past, and the difference
between her life as a young girl and Laura’s.
1726 – [On the dark stage the screen is lighted with the image of blue roses.]
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This image of blue roses is reminiscent of Jim’s name for Laura, Blue Roses. The name and idea
is very symbolic, as Jim is the only romantic interest Laura has had. The audience becomes
aware of the tragic affection Laura had for a high school hero, because of the great distance
between her and Jim on the social levels of society and because of her long hold affection for
someone from so long ago.
1732 - [Legend on screen: “You think I’m in love with Continental Shoemakers?”]
This question on the screen is used to focus the argument between Amanda and Tom, to show
how important Tom’s frustration with his lifestyle is to his character. This frustration will
continually come up in the play, as Tom hopes for a more adventurous lifestyle.
Scene Four AMANDA: But, Tom, you go to the movies entirely too much!
TOM: I like a lot of adventure.
[Image on screen: Sailing vessel with Jolly Roger]
AMANDA: Most young men find adventure in their careers.
TOM: Then most young men are not employed in a warehouse.
The dialogue shown above shows how the legend is used to emphasize Tom’s search of
adventure and independence (the image of a sailing vessel portraying these ideas). The use of the
silk screen is consistent throughout the play and is effective in achieving another level of
communication.
DIALOGUE
What are the outstanding characteristics of the way the characters speak?
Are there any distinctive uses of language?
Response 1
A thematic indicator and monitor of the central theme, duty and the desire to escape it, as
all characters are both consciously and unconsciously aware of their duties to one another but
become very provoked when the topic is brought up. Since familial and gender roles are
monumental parts of these characters’ identities, their very egos are compromised when they are
put into question.
Since so much of the play’s action is strictly between three or characters or less, the
author is able to go very deep in these character relationships through dialogue as all three of
these main characters experience the glass menagerie phenomena: Acquiring responsibility (all
of the characters are innate with responsibilities and duties from the start of the play) followed by
the desire to escape from it.
Tension is therefore created between each of the characters as each both have various
duties to one another and the desire to escape or forget them. Therefore, the least characters on
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stage on any given moment, the least tension there is on the stage, especially if a character is
alone and therefore does not feel obliged fulfill their relative duties.
EXAMPLE: “I descended the steps of this fire escape for a last time and followed, from then
on, in my father’s footsteps, attempting to find in motion what was lost in space. . . . I would have
stopped, but I was pursued by something. . . . I pass the lighted window of a shop where perfume
is sold. The window is filled with pieces of colored glass, tiny transparent bottles in delicate
colors, like bits of a shattered rainbow. Then all at once my sister touches my shoulder. I turn
around and look into her eyes. Oh, Laura, Laura, I tried to leave you behind me, but I am more
faithful than I intended to be!” (Page 1772)
Above is the final monologue given as Tom attempts to truly escape from his familial
duties just as his father did. The outstanding characteristic present in this quote is syntax and the
rhythm of speech produced by the syntax – sentences are very long and are frequently slowed
down by ellipses or commas. There are long stretches of speech without pausing, which is
representative of his flowing emotions. There is very little tension on stage at this moment as
Tom is on stage speaking alone and narrating his actions. Tom cannot ever truly escape from his
familial duties, especially as a brother to Laura, which is presented with a display of remorse and
conscious guilt in the end of the quote.
EXAMPLE:
“AMANDA: You will hear more, you –
TOM: No, I won’t hear more, I’m going out !
AMANDA: You come right back inTOM: Out, out, out! Because I’m –
AMANDA: Come back here, Tom Wingfield! I’m not through talking to you!
TOM: Oh, go –
LAURA [desperately]: - Tom !” (p1733)
As can be seen in the passage presented above, there is an enormous amount of tension
between the characters when all of them are present, and especially when the topic of
responsibility or duty is raised. Whenever the topic of Tom frequently going out to the movies is
brought up, Tom receives the indicator that his mother is implying his actual lack of
responsibility or duty, which makes him feel anger and frustration as his daily life consists of
mundane work in a factory and his dedication to duty, which deprives him psychologically.
On a select few occasions however, there is dialogue with very little tension, such as
when Tom comes home drunk from the movies and runs into Laura. He then explains to her the
coffin magic trick when both Laura and him gaze in wonder at the possibility of truly escaping
the confinements of their daily lives without removing a single nail or rupturing a single splinter.
PLOT
How do the events of the play unfold?
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How are the parts of the play organized?
What is the central conflict of the play? In other words, what drives the action of the play?
Subsidiary conflicts?
Where is the play’s climax? Why do you say so?
Response 1
[Note: Resposne 1 is, overall, a simple recounting of content, a chain of events. For an analytical
approach, see Response 2.
Scene 1 – Exposition
- Reveals the theatrical genre and structure of the plan, as an expressionistic memory play, and
gives background on the different characters and their family situation. Unconventional, as
Tom speaks directly to the audience about the play, which establishes a mysterious and
peculiar feeling, complimenting the non-sequential and vague nature of the memories.
- Describes a common family dinner in the Wingfield family. The conversations between the
characters reveal both the relationship to one another and characterize each character.
- It is apparent that there is tension in the family, especially in between Tom and Amanda.
Amanda is obsessed with her extravagant past and constantly talks about her memories as a
fine lady with many gentleman callers. She pretends, as if she is still living under the same
conditions, although it is clear that they are living in poor circumstances. As a result of this,
she constantly treats Tom and Laura from this perspective.
- Amanda gives Tom direction when he is eating and treats Laura as a fine pretty lady. Tom is
annoyed to be treated this way and Laura disappoints her as she has no gentleman callers.
- There are many problems among the family which all serve as conflicts. Aside from general
conflict between Amanda and Tom, Tom seems to be unsatisfied with this lifestyle and wants
to go on adventure, Amanda wants to find Laura a husband - seemingly very difficult as she is
so shy.
Scene 2 – Intensifies conflicts by emphasizing the hopelessness of Laura
- Amanda discovers that Laura has not been attending Business College, because Laura was too
nervous to even complete a speed test. (This characterizes Laura severely shy personality and
means that Laura cannot become a businesswomen, making Laura completely dependent on
her family.)
- Laura’s inevitable dependency leads Amanda to the conclusion that she needs a husband to
support her. (Plot progression, and change in focus)
- Laura mentions the one boy she has loved in her life (Jim), who she will ironically meet in the
future scenes. Foreshadows the family’s tragic fall in the end, as Jim is essentially the only
thing Laura has, other than her glass menagerie.
Scene 3 – Conflict intensifies highlighting the depth of Tom’s frustration and Amanda’s fears.
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- The need for Amanda to find Laura a gentleman turns into an obsession. She constantly
alludes to gentlemen callers and tries to raise money to make Laura more appealing as a fine
lady.
- Tom and Amanda get into a heated argument, in which Tom expresses how dissatisfied he is
with his life. He complains that he has nothing of his own and works in a dismal factory, just
for the sake of his family.
- Emphasizes how dependent the entire family is on Tom, as he is their only source of income.
Additionally one can see his strong wish for adventure, based on his obsession with the
movies. Tom is torn between the burden of providing for his family and his need to explore
the world.
Scene 4 – Some reconciliation; tensions ease a bit.
- Tom returns to the apartment intoxicated (Shows how he tries to deal with his dissatisfaction)
and Laura helps him.
- Laura wants Tom to apologize to Amanda, and the next day he does.
- Although Amanda continues treating her children in the same (annoying, obnoxious) way, it
becomes clear that she really does care for them. She tells Tom he can leave, once Laura has a
husband. The scene is important, as it gives us this insight into Amanda’s character.
Scene 5 – A new source of tension introduced; anticipation of gentleman caller.
- Tom tells Amanda that they will be having a gentleman caller that fits Amanda’s standards
(he does not drink).
- It is revealed that the gentleman caller is Laura’s high school hero. The audience anticipates
the ironic twist.
- Amanda wishes happiness for her children, which again gives us insight into her true
character.
Scene 6 – Tension generated by Jim’s visit steadily intensifies; climax; resolution.
- Amanda prepares to host the gentleman caller and makes sure everything is perfect. She even
wears a dress from her past that she used to entertain gentlemen in.
- Laura discovers that the gentleman caller is Jim, her high school hero, and no longer wants to
meet him.
- Tom and Jim briefly talk before meeting the family and Tom warns him that Laura is very
shy. He also mentions that he bought a ticket to the merchant marines.
- When the men enter, Amanda entertains Jim with her southern charm, as Laura is too ill to
come.
- While they are having dinner, the lights turn off because Tom neglected to pay the electric
bill. Amanda and Tom then go into the kitchen, leaving Laura and Jim alone.
- Laura is very hesitant to talk, however, as Jim continually encourages her to have more selfconfidence, she begins to ease up. They discuss the times in High school when Jim called her
Blue Roses and Laura shows him her glass menagerie.
- Jim asks her to dance and ends up breaking the unicorn. Although the glass menagerie is
Laura’s most prized possession, she is not mad and gives Jim the (now) horse.
- Jim begins to complement her attractiveness and kisses her. Afterwards he remembers that he
is engaged and excuses himself.
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- When Amanda finds out that Jim was engaged, she is enraged and blames Tom for playing an
awful trick on them.
- Laura has now lost one of the only things she ever had (the memory of Jim) and is very
disappointed. It is apparent that there is no hope that Laura will ever find a husband and that
she will remain dependent for the rest of her life.
- The argument between Tom and Amanda intensifies, and leads Tom to leave. Amanda is also
left with nothing, as without Tom she has no source of income. Essentially everything is lost
and the family remains hopeless.
Response 2
Organization – The basic organization of the play is chronological; however, there are
significant amount of time in between some scenes. The play is organized by scenes that are
usually ended with a mention to one of the overarching conflicts of the play. Scene one ends with
Laura and Amanda arguing about the lack of a gentlemen caller. Scene two ends with Laura
talking about her crippled leg. Also all of the scenes end with some sort of music playing as the
lights dim. The reference to the conflicts at the end of every scene is significant to making the
conflicts obvious to the audience see what is causing conflict in the play. It also adds suspense in
anticipation of the next scene to know what happens.
The central conflict of the play is the struggle between Amanda and her children
because she puts a lot of pressure on them to do things that they may not want to do and it causes
for lots of arguments and for Tom to walk out. Other conflicts are…
- Laura’s falling in love with Jim only to find out he is about to be married.
- Tom’s need for adventure and to leave the house.
- Amanda struggling to support her children while also dealing with her own issues after
losing her husband.
- Laura’s inability to socialize that holds her back in school and finding love.
Building tension – There are two major incidents that happen in this play – one is where
Jim comes to meet Laura and then kisses her, and the other is the big argument between Amanda
and Tom when Tom leaves for good. The major incidents are all organized in a build up
tension.. Each major incident has its own rising action that prepares the audience for what is to
come. For example with the kiss between Laura and Jim, Jim comes in and encourages Laura to
come out of her shell by getting really close by the fire with Jim and then dancing with him and
as the two get closer and more intimate, the audience is anticipating the kiss so that when it does
come, it is more magnified because it is as if what the audience was waiting for the whole time
finally happened.
Another example is when Tom leaves for good after arguing with his mother. The two
characters had been having heated arguments throughout the play and every time they had been
in an argument Tom would walk out. This is very significant to the build up because the
audience knows that Tom has always wanted to get out and see the world and he says that every
time he goes to the movies he gets the opportunity to do this so the audience is anticipating the
day he actually leaves. Then as it happened throughout the play, he argues with his mother and
walks out.
G l a s s M e n a g e r i e R e v i e w S h e e t | 13
[Note: Ironically, the climax, the event that determines and reveals the inevitable
(ineluctable) outcome of the play, falls between these two events: Jim’s announcement that he is
engaged.]
Response 3
The play is organized in scenes, each of which is separated by a usually indeterminate period of
time in the play. There are six of such scenes, of varied length.
Each scene serves a purpose within the plot of the play; some serve as exposition, some to build
conflict, and others to resolve conflict.
 The first scene is relatively brief, and introduces the relationships between the members
of the Wingfield family, as well as their situation. Tom opens the scene with a
monologue, and immediately breaks the 4th wall. He explains that he is both a character
and a narrator in the play, and introduces each character by name, even going as far as to
explain the function of Jim’s character, though in a more symbolic respect. The rest of
the scene demonstrates the dynamic between Tom, Amanda and Laura, especially Tom’s
frustration and Amanda’s ambition to marry off Laura.
 The second scene is equally brief, and introduces more of the conflict of the play.
Amanda’s attempt to find a stable life for Laura is further developed, alongside Laura’s
seeming inability to fulfill Amanda’s expectations. Jim is again mentioned.
 The third scene opens with another monologue from Tom, in which he states the personal
conflict caused by Amanda’s hunt for a gentleman caller for Laura. The financial strain
on the family becomes more apparent as a source of conflict. The conflict between
Amanda and Tom, in Amanda’s concept of duty and Tom’s desire for adventure and
freedom becomes more explicit in their argument. Tom’s desire to escape is now clear.
 The fourth scene allows Tom to explain to Laura his desire for freedom, as well as
featuring Tom and Amanda’s attempt at reconciliation. Laura shown as point of conflict:
according to Amanda, Tom cannot pursue his own desire until Laura has a secure income
or, preferably, a husband. Resolution to this conflict begins with Amanda instructing
Tom to find an appropriate suitor.
 The fifth scene continues this resolution, as Tom tells Amanda he has found a gentleman
caller. Preparations begin for his visit. Tom suggests continued conflict in saying that
Laura may not appeal to the caller.
 The sixth and final scene contains the climax and resolution of the play. Tom opens with
another monologue, which builds towards the climax as Tom describes Jim, and his
coming arrival. Laura learns that she will be meeting Jim, and becomes increasingly
uneasy, building further tension. Jim’s visit culminates in an apparent connection
between Laura and Jim, bringing the tensions in the play to a point. When it is revealed
that Jim is in fact engaged, and has no romantic interest in Laura, the dénouement begins,
primarily provided by Tom in monologue.
The plot is driven by a number of conflicts, most of which occur in conflicts of interest
between the three central characters.
 Laura’s conflict is primarily internal, with her own shyness and inability to deal with
the outside world. Her shyness also creates some conflict with her mother.
G l a s s M e n a g e r i e R e v i e w S h e e t | 14


Tom’s conflict comes from his duty to his family being in opposition to his own
passion for poetry and adventure, as well as his restlessness and discontent in general.
Amanda exacerbates both of these conflicts, through her attempts to find a future for
Laura and Tom. In Laura’s case, this is primarily through her efforts to make her
appealing to ‘gentleman callers’, thereby finding her a spouse to offer financial
support and a future. In Tom’s case, she attempts to keep him duty-bound to the
ote:generally melded response.[household, as he is the primary provider for the
family.
There are two central conflicts that essentially determine the future of the family: Amanda’s
desire to marry off Laura, and Tom’s own desire to leave his current situation. These carry the
plot as Amanda attempts to find different ways to make Laura more fit for marriage, and Tom
and Amanda’s opposite interests causes friction in the household.
The overall climax can be considered to occur during the 6th scene, as Jim’s apparent
fondness for Laura and the breaking of the glass unicorn lead into his admission that he is
engaged. Tensions are brought to their zenith as it appears that Jim could actually provide
resolution to all of the primary conflicts in the play, before the shock of the opposite outcome:
Jim will not marry Laura. When Jim reveals that he is unavailable to Laura, all hope for a
positive resolution ends, their fate is revealed, and the climax is reached. The resolution then
follows, with the reactions of the various characters, Tom’s ultimate departure, and his sorrowful
closing monologue.
CULTURAL CONTEXT
Response 1
The play, “The Glass Menagerie” was written by Tennessee Williams around the 1950s.
However, the play is set during the 1930s in St. Louis. During the 1930s, American families had
been suffering extremely from the loss of jobs and scarce income to survive off of from the Wall
Street Crash that occurred in 1929. The Wall Street Crash resulted from the crash of
With regards to the lack of jobs and money resulting from the Great Depression, there
was a major increase in the crime rate. People had to resort to stealing in order to put food on
their table. Others resorted to ending their life because of the uncomfortable living situations that
people were living through at the time for example starvation and malnutrition. People were
willing to do anything for money as more and more women found themselves feeling as that they
had to resort to selling their bodies for any amount of income. With regards to lack of sufficient
money, there was a decrease in students in schools with higher education; however, there was an
increase in male attendance because of the competition of jobs that were available. The Public
School system was a victim of horrendous state cuts. Public schools were either understaffed or
shut down because of the lack of money. Some children didn’t have enough clothes or utensils in
order to go to school. Another issue stemming from scarce income in families was abandonment.
Many husbands and fathers decided to run away from their family, one could say, probably in
order to save himself from the burden of sharing the money with the family.
G l a s s M e n a g e r i e R e v i e w S h e e t | 15
Most Americans were desperate for an escape from reality. Because of their desperation
for happiness, Americans forced an end to the prohibition era in 1933. Prohibition was a national
ban on sale, production and transportation of alcohol. Alcohol was consumed daily and regularly
as Alcoholism increased the sentiment of escape for the citizens. Another popular source of
escape for Americans was going to the cinema by watching other people live more exciting and
better lives in movies. Gambling board games, reading literature and listening to the radio also
became a favorite pastime in American culture of the 1930s.
Americans were starting to question the founding principles that the country was founded
on; the land of democracy, opportunity, capitalism. It was questioned even further when Italy
and Germany succumbed from democracy to dictatorships. However, democracy in America
found a way to cling on to victory.
Weekly Wages:
Now
Then
Manufacturing--Production Worker
$16.89
$500
Cook
$15.00
$236
Doctor
$61.11
$1800
Accountant
$45.00
$700
Works Cited:
US History
Social and Cultural Effects of the Depression
© 2008-2012 ushistory.org
http://www.ushistory.org/us/48e.asp
Lone Star College - Kingwood
American Cultural History
1930 - 1939
http://kclibrary.lonestar.edu/decade30.html
Response 2
The play is set in St. Louis in 1937 when there was limited money due to the great depression.
1930s Context:
- Wall street crash of 1929 led to the Great Depression, which devastated the economy for
the remainder of the decade.
- Adolf Hitler and the Nazi party begin their rise to power in 1933
- 1932 Franklin Delano Roosevelt elected president and initiates widespread social welfare
strategies such as the “New Deal” to get the country out of the depression.
- 1930-36 Dust Bowl phenomenon occurred across many of the major American
agricultural lands effecting 100,000,000 acres. This event led to mass migration of
farmers and their families that had lost all of their land and were forced to live in extreme
poverty. Food production declined drastically during this period. In some areas soil
G l a s s M e n a g e r i e R e v i e w S h e e t | 16
-
conditions did not improve until 1940. In some areas 75% of the soil was lost leading to
the migration of 2.5 million people.
1933 prohibition ends
1927 talking films make their premiere
1930 full color films produced
Advances in technology led to the recreation of many movies such as Cleopatra
Uncertainty of the 1930s led to many Americans to go to the movies in search of an
escape from the difficult reality. This made fantastical and escapist movies very popular.
1950’s Context:
- Korean war, which lasted from June 25, 1950 until the signing of the Korean Armistice
Agreement on July 27, 1953, started as a civil war between North Korea and South
Korea.
- The Vietnam War began in 1959. The first official large unit military action was on
September 26, 1959 between the Vietcong and the Republic of Vietnam.
- Cuban Revolution (1953–1959) – The 1959 overthrow of Fulgencio Batista by Fidel
Castro, Che Guevara and other forces resulted in the creation of the first communist
government in the western hemisphere.
- With the help of the Marshall Plan, post-war reconstruction succeeded, with some
countries (including West Germany) preferring free market capitalism. Europe continued
to be divided into Western and Soviet bloc countries. The geographical point of this
division came to be called the Iron Curtain. It divided Germany into East and West
Germany.
- In 1953 Joseph Stalin, the leader of the Soviet Union, died. There were anti-Soviet
uprisings in East Germany, Poland in 1953 and the Hungarian Revolution of 1956.
- In the mid-1950s Elvis Presley became the leading figure of the newly popular sound of
rock and roll.
- In the early 1950s Jackson Pollock and Willem de Kooning were enormously influential
in the visual arts.
- The 1954 Brown v. Board of Education ruling by the Supreme Court of the United States
opened the door to the beginnings of the right for all Americans to an equal and fair
education regardless of race, creed or religion.
- The US federal government authorized the Interstate Highway System in June 1956, and
construction had begun by the fall of that same year.
THEMES
What is the central theme of the play? Secondary themes?
Is the theme (Are the themes) conveyed directly or indirectly?
[Note: generally melded response.]
G l a s s M e n a g e r i e R e v i e w S h e e t | 17
Abandonment/Leaving
Mr. Wingfield (the father) –
- Left his family for a different life [“…[he was a] telephone man who fell in love with
long distances.”]
- Showed little regret for leaving [LEGEND: “Hello—Goodbye.”]
Tom –
- Leaves almost every night to go to the movies
- Eventually leaves the family just like his father
Escape
Laura –
- Escapes her current situation/reality by focusing on the glass menagerie and the Vitrola
- Visits the zoo almost every day to get away from the business school and her mother [“I
visited the penguins every day”]
- Hides from Jim and uncomfortable situations by playing the Victrola
Amanda –
- Relives memories of the past when she is reminded of the family’s difficult situation
(Refers to Blue Mountain and her Gentlemen Callers)
- Denies Laura’s disability by going off on tangents
- Frequently talks about her ex-husband even though he has deserted them
- Hides from reality (an attempt to escape it)
Tom –
- Leaves almost every night to go to the movies [“I go to the movies because-I like
adventure.” (p.1738)]
- Tries to escape his job and reality with movies about adventure, magicians, and poetry.
Also escapes reality with his writing.
- Cannot escape from his memory of Laura
- Actually escaped from the family like his father did.
- “We nailed him into a coffin and he got out of the coffin without removing one
nail…there is a trick (referring to the coffin) that would come in handy for me-get me out
of this two-by-four situation” (p.1735).
Jim –
- “I’m right at the point of committing myself to a future that doesn’t include the
warehouse” (p.1753).
Entrapment
Tom –
- Describes the house as being a “tomb.”
- Talks about Malvolio’s stage trick. [“There is a trick that would come in handy for me—
get me out of this two-by-four situation.”]
G l a s s M e n a g e r i e R e v i e w S h e e t | 18
-
The apartment is described as a lower-middle class building in a “…fundamentally
enslaved section of American society.”
Amanda –
- Wants to create a trap for Jim so Laura can marry [“All pretty girls are a trap, a pretty
trap, and men expect them to be.”]
- “So what are we going to do the rest of our lives? Stay home and watch the parades go
by?” (p.1729)
Laura –
- (In a tone of frightened apology): “I’m crippled” (p.1730)
Miscommunication/Inability to communicate
The characters don’t really communicate well. The only times when Tom and Amanda sort of
speak honestly to one another is when they’re fighting, otherwise Tom sits by, having his
frustration build up. Tom is only really able to communicate his inner feelings through writing or
when he is drunk.
Duty (to self, others, and desire)
Tom –
Goes to work every day (Duty) but wants a better life (Desire). (“Why, listen, if self is what I
thought of, Mother, I’d be where he is-GONE!” (p.1733)) Still, he continues to go back, “You
think I’m crazy about the warehouse?...But I get up. I go!” Also, thinks about joining Merchant
Marines but stays (for most of the play).
Amanda –
- “Fifty dollars’ tuition, all of our plans-my hopes and ambitions for you-just gone up the
spout, just gone up the spout like that.” (p.1728)
- “We won’t have a business career-we’ve given that up because it gave us nervous
indigestion.” (p.1729)
- “What right have you got to jeopardize your job? Jeopardize the security of us all? How do
you think we’d manage if you were-“
- I mean that as soon as Laura has got somebody to take care of her…then you’ll be free”
(p.1739).
- “I’ll tell you what I wished for on the moon. Success and happiness for my precious
children”(p.1742).
- “Don’t think about us, a mother deserted, an unmarried sister who’s crippled and has no
job!” (p.1771)
Laura’s quitting the business college could be an example of desire winning over duty, or duty to
self-beating out duty to others.
Reality vs. Illusion/Reality vs. Un-reality (dreams, illusions, memories)
G l a s s M e n a g e r i e R e v i e w S h e e t | 19
-
Amanda, Tom, and Laura try to hide from their own respective realities, creating dream
worlds, or other forms of escape.
The play itself is a memory, it’s not real, but a memory of something that has already
happened.
Tom talks about illusions in his opening monologue
Jim does not live in reality, but looks to a future that does not exist yet – he lives in the
future.
“You don’t know things anywhere! You live in a dream; you manufacture illusion!”
(p.1771) – Amanda
Tom –
- “The scene is memory and is therefore nonrealistic” (p.1722)
- “I give you truth in the pleasant disguise of illusion. Their eyes had failed them, or they
had failed their eyes.” (p.1723)
- “He is the most realistic character in the play, being an emissary from a world of reality
that we were somehow set apart from.” (p.1723)
- “Like some archetype of the universal unconscious, the image of the gentleman caller
haunted our small apartment.” (p.1731)
- “But here there was only hot swing music and liquor, dance halls, bars, and movies, and
sex that hung in the gloom like a chandelier and flooded the world with brief, deceptive
rainbows (referring to jazz club)” (p.1742).
- “…she’s ours and we love her. We don’t even notice she’s crippled any more” (p.1745).
- “She (Laura) lives in a world of her own-a world of little glass ornaments” (p.1746).
- “Hollywood characters are supposed to have all the adventures for everybody in
America” (1753).
Power of Love
- Laura haunts Tom even after he leaves. Tom wants to forget her, but can’t. [“Blow out
your candles, Laura-and so goodbye…” (p.1772).]
- Tom goes to the factory, even though he hates it because he wants to take care of Laura.
- Amanda fell for Tom’s father, even though she had all those other, better gentlemen
callers. [“There’s so many things in my heart that I cannot describe to you! I’ve never
told you but I-loved your father….” (p.1738).]
- Amanda, despite conflicts with her children, only wants the best for them. “My devotion
has made me a witch and so I make myself hateful to my children” (p.1737).
The power of memory. As Tennessee Williams states in his production notes, the first
condition of the play is “nostalgia.” The play is one of memory, specifically Tom’s. Most
fictional plays are products of imagination and are to convince their audience that they
are real. “The Glass Menagerie” is a play grounded in memory and therefore already a
figment of reality. Tennessee Williams takes full advantage of draping real experience in
the disguise of this drama. For example “Blue Roses” is a reference to his sister Rose and
her character traits run closely parallel to those of Laura. The play is a real testament to
the power and ability of one to have memories exert on their consciousness. Amanda is
G l a s s M e n a g e r i e R e v i e w S h e e t | 20
an excellent example of living in her past and memories to harbor her illusions. Tom’s
memory of Laura at the end of the play is vividly portrayed as permanently haunting him.
Memory is the premise for the structure of the entire plot.
[Note: The following section details direct and indirect expressions of themes.]
1.) Miscommunication/Inability to communicate:
a. How’s it conveyed?
i. Indirectly through Tom and Amanda’s arguments, which show that they
aren’t able to really communicate
ii. Indirectly through Tom’s writings, which suggest that he is only able to
communicate his feelings fully through writing, rather than expressing
them with others.
iii. The only time Tom really share’s his inner feelings is when he’s drunk;
he’s not able to express himself truthfully otherwise.
2.) Duty to self vs. others/Duty vs. Desire:
a. How’s it conveyed?
i. Directly through Tom saying he hates his job, but goes back everyday
1. “You think I’m crazy about the warehouse?...But I get up. I go!”
ii. Indirectly: Tom has been courting the idea of joining the Merchant
Marines for a while, but he has stayed.
iii. Indirectly: Tom’s movies shows that he wants to go do better things.
iv. Maybe: Indirectly: Laura’s quitting the business college could be an
example of desire winning over duty, or duty to self beating out duty to
others.
3.) Reality vs. Illusion/Reality vs. Un-reality:
a. How’s it conveyed?
i. Directly: Tom tells the audience that the play is a memory play.
ii. Directly: Tom talks about illusions in his opening monologue, and how
they contrast with reality.
iii. Indirectly: Laura lives in her own world, not reality.
iv. Indirectly: Tom and Amanda warp their realities into something that is not
100% true, therefore they don’t live in complete reality.
v. Indirectly: Even Jim doesn’t live in reality, looking towards a future that
doesn’t exist yet, living in that future, and not really his present reality.
4.) Power of Love:
a. How’s it conveyed?
i. Indirectly: Actions of Amanda, and her treatment of her children, conveys
the love she feels towards them, even though Tom is openly abrasive and
confrontational with her, and Laura has obvious abnormalities that
essentially disappoint/confuse Amanda.
ii. Directly: Tom’s monologue in the final scene talks about he is unable to
let go of Laura, showing the power of love that he feels for her.
iii. Indirectly: Presence of father’s photo on stage, despite the fact that he left
them, shows that Amanda, or at least the family as a unit, still loves him.
G l a s s M e n a g e r i e R e v i e w S h e e t | 21
There is no real accusation or judgement of the father as a root of the
family’s troubles, which shows their love for him. Also, Amanda’s
gestures in the final scene, looking towards the photo, show that she still
loves him.
5.) Escape:
a. How’s it conveyed?
i. Directly: Tom’s metaphor of the coffin
1. “We nailed him into a coffin and he got out of the coffin without
removing one nail…There is a trick that would come in handy for
me – get me out of this two-by-four situation” (pg. 1735)
ii. Directly: Tom’s going to the movies
iii. Directly: Laura’s glass menagerie and vitrola
iv. Indirectly: Amanda’s constant reminiscing about her past show how she’s
escaping to her past.
v. Indirectly: Jim’s wanting to better his life shows how he wants to escape
from the factory, from his current position in life.
vi. Directly: Tom leaves his family at the end of the play, after having talked
about it and alluded to it the length of the play.
vii. Directly: Tom’s father left the family. This anecdote is present from the
beginning of the play, making it a theme that is central to the core of the
play, as it plagues it from the beginning.
SYMBOLS AND MOTIFS
Response 1
Glass – Glass is often associated with fragility, beauty and transparency. Laura possesses all
three of these qualities. She is fragile in that she is crippled. She is also ‘mentally fragile’ as she
lacks confidence in herself: “You know what I judge to be the trouble with you? Inferiority
complex” (p. 1821); “A lack of confidence in yourself as a person. You don’t have the proper
amount of faith in yourself… A little physical defect is what you have. Hardly noticeable even!
Magnified thousands of times by imagination!” (p. 1822).
Laura is transparent in that she lacks assertiveness. She is afraid to put herself out there and
let her ‘true colors show’. Transparency also represents Laura’s simplicity. Although glass is
transparent, when a light is shown through it, a rainbow is refracted. This is suggestive of
Laura’s hidden beauty: “JIM: Has anyone ever told you that you were pretty? Well, you are!
In a very different way from anyone else. And all the nicer because of the difference, too.”
(p. 1825)
Blue Roses – ‘Blue roses’ is the name Jim uses to refer to Laura. However, as Laura points out,
“blue is wrong for roses”. Thus, this nickname is suggestive of Laura’s odd beauty.
“JIM: Being different is nothing to be ashamed of. Because other people are not such
wonderful people. They’re one hundred times one thousand. You’re one times one! They
G l a s s M e n a g e r i e R e v i e w S h e e t | 22
walk all over the earth. You just stay here. They’re common as —weeds, but you—well,
you’re—Blue Roses!
LAURA: But blue is wrong for—roses...
JIM: It’s right for you! You’re—pretty!” (p. 1825-1826)
Unicorn – Traditionally, the only people who can see and interact with unicorns are virgins.
Thus, the unicorn figurine symbolizes Laura’s purity and innocence. In scene 7, Jim and Laura
accidentally bump into the table such that the piece of glass falls and the horn breaks. This is
symbolic as it marks Laura’s first encounter.
The unicorn also highlights Laura’s oddity. She is different and, thus, has difficulty finding
her place in society:
“JIM: Poor little fellow, he must feel sort of lonesome.
LAURA [smiling]: Well, if he does, he doesn’t complain about it. He stays on a shelf
with some horses that don’t have horns.” (p. 1823)
In scene 7, Laura even admits that she has never had much luck at making friends.
Movies – The movies are a symbol for adventure: “TOM: I go to the movies because – I like
adventure. Adventure is something I don’t have much of at work, so I go to the movies.” (p.
1796). The movies enable Tom to escape reality and relieve his frustration.
The Phonograph and the Glass Menagerie – In the same way that Tom goes to the movies to
seek adventure and escape the dullness of his reality, Laura distracts herself with the phonograph
(Victrola) and the glass menagerie. The entertainment Laura derives from the glass menagerie is
based purely on imagination. It is a “world that is colorful and enticing but based on fragile
illusions.” (Sparknotes)
The Fire Escape – The fire escape is a symbol for liberation. Tom frequently goes outside to
smoke a cigarette or contemplate the Paradise Dance Hall. This reveals how unsatisfied he is
with his life and foreshadows his departure. To put an end to his fights with Amanda, Tom
repeatedly rushes down the fire escape: he attempts to flee from his frustrations. In scene 4,
Laura falls down the fire escape. The fire escape connects the Wingfield's with the rest of world
and, thus, the fall symbolizes Laura’s inability to escape her situation and function as a member
of society. The fire escape also embodies Amanda’s aspiration. She hopes that, one day, a
gentleman caller will march up the stairs to meet Laura. The fact that Laura refuses to open the
door when Jim and Tom arrive shows “her reluctance to let an emissary from the world of reality
invade the comfortable non-existence of the apartment, and her insecurity in dealing with the
outside world.” (Manmuseum)
Jonquils – Jonquils are redolent of Amanda’s past and, thus, a symbol for happiness: “So lovely,
that country in May—all lacy with dogwood, literally flooded with jonquils! … I made the
young men help me gather the jonquils!” (p. 1807). Amanda associates jonquils with her ‘glory
G l a s s M e n a g e r i e R e v i e w S h e e t | 23
days’, the height of her beauty, charm and popularity. Amanda frequently reminisces her past;
she prefers to relive her youth instead of facing the present, which is tainted with poverty and
abandonment.
The Father’s Portrait – The father’s portrait is a symbol for freedom and desertion. The portrait
towers over the Winfield’s living room as if inviting Tom to follow in his father’s footsteps.
Moreover, the father is grinning in the photograph, a constant reminder that he successfully
escaped and is now free.
Rainbows – Rainbows are a symbol for hope. When Tom comes home from the movies in scene
4, for instance, he explains to Laura how the rainbow scarf works: “This is a magic scarf. You
can have it, Laura. You wave it over a canary cage and you get a bowl of goldfish. You wave it
over the goldfish bowl and they fly away canaries.” (p. 1793) The rainbow scarf symbolizes
hope as it foreshadows Tom’s departure; he will soon follow in the footsteps of these canaries.
The rainbows created by the chandeliers at the Paradise Dance Hall represent brief instances
of hope and pleasure in this world plagued by misery: “In Spain there was Guernica! But
here there was only hot swing music and liquor, dance halls, bars, and movies, and sex that
hung in the gloom like a chandelier and flooded the world with brief, deceptive rainbows…
All the world was waiting for bombardments!” (p. 1800)
Another reference to rainbows is made at the end of the play: “The window is filled with
pieces of colored glass, tiny transparent bottles in delicate colors, like bits of shattered
rainbow. Then all at once my sister touches my shoulder” (p. 1831). This time, however, the
rainbow is symbolic of the covenant between Tom and Laura. The two siblings share a strong
bond and Tom feels the need to shield his sister. Under no circumstances does he want to
harm her. The fact that the rainbow is shattered shows that the covenant has been broken;
Tom has abandoned Laura.
Magic – Tom is unhappy with his life, but is having difficulty escaping. He hopes that magic
will intervene and take him someplace where he will finally be happy. Tom has lost all faith and,
as a last resort, turns to the supernatural.
The magician’s coffin we encounter in scene 4 exemplifies Tom’s life: “We nailed him into a
coffin and he got out of the coffin without removing one nail. There is a trick that would
come in handy for me—get me out of this two-by-four situation” (p. 1793). Tom is frustrated
and feels oppressed. He experiences a sense of confinement both at work and in his family
life: he is trapped inside a coffin and hopes to get out without removing a nail (i.e. without
causing any damage).
Works Cited:
"Themes, Motifs & Symbols." Sparknotes. SparkNotes LLC, 2003. Web. 4 Feb. 2012.
<http://www.sparknotes.com/lit/menagerie/themes.html>.
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"Symbolism in the Glass Menagerie ." Manmuseum. N.p., n.d. Web. 4 Feb. 2012.
<http://www.mannmuseum.com/symbolism-in-the-glass-menagerie/>.
Response 2
Symbols in The Glass Menagerie often seem to lack realism – they are melodramatic and
overly perfect when compared to those of other plays this class has read. Even characters act as
symbols (although this case is more of an allegory than a “symbol”); for example Tom says “But
since I have a poet’s weakness for symbols, I am using [Jim] also as a symbol; he is the long
delayed but always expected something that we live for.” The Glass Menagerie is a “memory
play,” as Tom states, “it is not realistic.” Thus, Williams is able liberally make use of symbolism
and (in some cases) allegory to a much greater extent than realistically probable.

Light and transparency: Many of the play’s smaller symbols (e.g. glass, windows,
rainbows, candles, darkness, etc.) all contribute to the larger symbol of light. Light is
referred to very frequently. Generally, it symbolizes lucidity, reality, coherence, and/or
stability. With this in mind, many of the other objects of or relating to light,
transparency, or glass also become understandable.

The glass menagerie, on a literal level, is used to develop Laura’s character –
specifically, that she would rather escape to a fantasy of transparent (both literally and
figuratively) and simple animals than work and live in the real world. While the glass
world is more entertaining to Laura, it is an illusion, contributing further to one of the
play’s larger themes regarding creating deception. Symbolically, the glass menagerie
represents Laura’s multi-faceted personality as well. They are fragile, imaginative, and
exotic. Laura’s favorite animal is the unicorn, which represents her peculiarity,
loneliness (as Jim notes) and her deviation from the modern world. The excessively
overt juxtaposition of Jim’s kiss with the breaking of the horn represents Laura’s
progression to normality. With this symbol, Williams expresses the irony in adaptation
to normal society: while the unicorn is now like other horses, it had to shatter and lose
something unique, much like Laura. That she chooses to let him keep it represents how
she finds her new character is more suited for him than herself.
Other symbols include the magician (the coffin symbolizes an inability to escape, and the magic
symbolizes the play’s theme of illusions), the candles (they create a romantic tone and establish
dramatic moments) and the electricity bill (symbolizing Tom’s role in the household in
maintaining cohesiveness), among many others.
Response 3 - Motifs
Abandonment/Leaving

Mr. Wingfield
o “…telephone man who fell in love with long distances.”
 Left his family for a different life
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
o “Hello—Goodbye.”
 Shows little regret of leaving
Tom
o Leaves almost every night to go to the movies
o Eventually leaves just like his father
Escape



Laura
o Escapes her current situation by focusing on the glass menagerie
o Visits the zoo almost everyday to get away from the business school and her
mother
 “I visited the penguins every day”
o Hides shyness from Jim by playing the Victrola
Amanda
o Relives memories of the past when she is reminded of the family’s difficult
situation
 Refers to Blue Mountain and her Gentlemen Callers
o Denies Laura’s disability by going off on tangents
o Frequently talks about her ex-husband even though he has deserted them
Tom
o Leaves almost every night to go to the movies
o Tries to escape his job and boring reality with movies about adventure,
magicians, and poetry.
Entrapment



Tom
o Describes the house as being a “tomb”.
o Talks about Malvolio’s stage trick.
 “There is a trick that would come in handy for me—get me out of this
two-by-four situation.”
The apartment is described as a lower-middle class building in a “…fundamentally
enslaved section of American society.”
Amanda
o Wants to create a trap for Jim so Laura can marry
 “All pretty girls are a trap, a pretty trap, and men expect them to be.”
THEATRICAL CONVENTIONS
GENRE: TRAGEDY
This play is a tragedy, though not in the most typical sense.
Exemplifies many characteristics tragedies:
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- A catastrophe is inevitable – if Tom leaves, the family will be destitute, but if he stays, the
conflict will continue to rip them apart.
- The play concludes with a downfall, the departure of Tom, which makes the livelihood of
Amanda and Laura even more uncertain and pushes Tom even deeper into unhappiness.
- Certainly, the play displays a solemn view of life.
- Finally, there is an emphasis on human flaws.
 Amanda is ridiculed for her silliness and her fixation on the past- “One Sunday afternoon
in the Blue Mountain- your mother received- seventeen!-gentlemen callers!” (p.1725).
 Tom is repeatedly berated for his selfishness- “Self, self, self is all that you ever think
of!” (p.1739).
 Laura, who is made to appear pristine, is shown to be cripplingly self-conscious- “You
[have] this inferiority complex that keeps you from feeling comfortable with people”
(p.1767).
However, other important traits are missing or unclear:
The characters’ fortune doesn’t necessarily demonstrate the tragic reversal from good
to bad. Even at the start of the play, the family finds itself in a dire situation following the
departure of the father, the primary breadwinner, and in light of the Great Depression, which
only exacerbated their descent into poverty.
- As a result of their financial troubles, Tom is forced to take over his father’s role as provider,
trapped by a dead-end job and the burdens of an aging mother and a helpless sister. Still, one
could argue that his position at the end of the play is yet worse. He is ultimately alone,
friendless and estranged from his family, and burdened with the guilt of what he has done- he
has exchanged one cage for another of his own making, unable to get “out of the coffin
without removing one nail” (p.1735)
- Similarly, Amanda begins the play as a woman struggling to help her children find
happiness against all odds. Nevertheless, one could argue that this gives her purpose and
demonstrates her love for her children, even though it causes conflict within the household.
By the end of the play, conflict is lessened, but Tom has left Amanda, just as his father did
before him, and Laura is just as incapable as before, her progress crushed by Jim’s revelation
of his engagement. A worsening of fortunes is perhaps implicit, though not as clear as in
more traditional tragedies.
There is no obvious tragic hero. Tom could perhaps be considered as such, but he has
no real nobility about him at any point in the play. Amanda might be a tragic hero if not for the
ridiculousness of her speech and conduct throughout most of the play. Finally, Laura doesn’t
seem to be a tragic hero because she ends the play in the exact same position where she startedno reversal of fortune. In spite of the ambiguity, the strongest candidate for a tragic hero
appears to be Amanda, especially in the final scene, when she is described as having “dignity
and tragic beauty” (p.1772). She even glances at the father’s portrait, suggesting that she stills
cares for him despite him leaving her, demonstrating perhaps Amanda’s most noble qualities- her
loving nature and resiliency when faced with challenges.
In addition to being tragic, the play is also expressionist, aiming to capture meaning not through
strict imitation of reality but with artistic license that highlights the emotional dimensions of life
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to reveal truth. In expressionist theater, aspects such as lighting, music, staging, and point of
view are manipulated in order to emphasize truth and significance more clearly and poignantly.
EXPRESSIONISM
Response 1
A theatrical movement that became popular in the early 20th century, emerging with new
psychological discoveries. It relates more to the emotion of the audience than the realistic.
Reality is not necessarily being portrayed; it is the subjective emotions and responses that objects
and events arouse in him. It “attempts to reveal truth behind artificial fact.” Characteristics
include:1
- Willful divergence from conventional theatre
- Explores the psychology and emotional foundation of the narrator
- Aesthetic intensity (i.e. consciousness about the limits of language, therefore also
relying on the value of the visual)
- Suggestive use of light, shadow, music, signs, sounds, symbols, movements, and
costumes to emphasize certain characteristics
- Usually makes symbolic references to moonlight
- Dramatizing the suffering and spiritual awakenings of the protagonist(s)
- Struggles against the bourgeoisie and the established authority (oftentimes the role of a
father)
- Heightened speech
- Distorting, exaggerating, or fantasizing something to convey an idea
- Plots usually revolved around the salvation of humankind
Expressionism in “The Glass Menagerie”
- The entire play is based on Tom’s murky and subjective memory of an event
- It is through Tom’s perspective that we base our opinions of the other characters
- Direct character and audience relationship – Tom acts as narrator
- Reliance of light
- Words projected on stage
- Heavy reliance of symbols to convey meaning
- Struggles with the father who abandoned the family
- The use of imaginary props
- Significant symbols: the dress, the menagerie (the unicorn), the fire escape, blue roses,
etc.
- The brace Laura wears—distorting and symbolizing
- Overly descriptive stage directions
Supporting Quotes
1
Styan, Expressionism and Epic Theatre; Cambridge: Cambridge University Press
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-
-
-
-
“The play is a memory. Being a memory play, it is dimly lighted, it is sentimental, it is
not realistic. In memory everything seems to happen to music. That explains the fiddle in
the wings.” –Tom, pg. 1723
“There is a fifth character in the play who doesn’t appear except in this larger-than-life
sized photograph over the mantle. This is our father who left us a long time ago.” –Tom,
pg. 1723
“Tom deliberately lays down his imaginary fork down and pushes his chair back from the
table.” –Stage directions, pg. 1724
“Image on screen: Amanda as a girl on a porch, greeting callers.” –Stage directions, pg.
1725
“Screen legend: ‘Ou sont les neiges d’antan?’” –Stage directions, pg. 1725
“On the dark stage the screen is lighted with the image of blue roses. Gradually Laura’s
figure becomes apparent and the screen goes out. The music subsides.” –Stage directions,
pg. 1726
“Is there a moon this evening?” –Amanda, pg. 1742
“I didn’t go to the moon, I went much further…and followed, from then on, in my
father’s footsteps….” –Tom, pg. 1772
Response 2
The play is Expressionistic in that it aims to capture meaning not through strict imitation of
reality but with artistic license that highlights the emotional dimensions of life to reveal truth. In
expressionist theater, aspects such as lighting, music, staging, and point of view are manipulated
in order to emphasize truth and significance more clearly and poignantly.
Williams uses many expressionist techniques in Glass Menagerie. First and foremost, Williams
manipulates lighting to contribute to meaning and characterization. For example, on page 1732,
even as Amanda and Tom are fighting in the foreground, “a clear pool of light” is focused on
Laura, the spectator. This could serve to reveal Laura’s virtue as opposed to Tom and Amanda.
The light could highlight Laura’s helplessness, or even show maturity through her lack of
involvement.
Music is also employed to effect in this play. Snatches of the song ‘The Glass Menagerie’ thread
throughout the play, connecting events, reinforcing the fact that the play is told through Tom’s
memory and revealing Tom’s deep love for Laura. Sensuous dance music that drifts across the
alley contrasts with the other music in the play just as the world of Tom’s memory is in contrast
with his present world of war and change- “[Adventure and change] were waiting around the
corner for these kids. Suspended in the mist over Berchtesgaden, caught in the folds of
Chamberlain’s umbrella. In Spain, there was Guernica! But here there was only hot swing music
and liquor” (p.1742).
Another expressionist effect is that of the screen displaying images and phrases between
scenes relevant to the action on stage. It makes the meaning of the action more explicit. For
example, on page 1750, before Laura must open the door for Jim, the legend on the screen reads
“Terror!”, reinforcing the extent of Laura’s social anxiety.
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Other aspects of staging are also decidedly expressionist- rather than eating actual food in the
first scene, the actors imply the presence of food with gestures. In the same way, Tom goes
through the motions of reading a newspaper although the pages are blank.
Finally, the use of a character as a narrator and the breaking of the fourth wall are very
expressionistic. The play happens as though Tom is retelling his memories of the past,
accounting for some of the less realistic characteristics of the play, such as dim lighting and
occasional phrases of music, and, most importantly, Tom’s comments that address the audience
directly. Traditionally, characters’ thoughts are revealed on the stage through soliloquy,
confidantes, or even the occasional aside, but in Glass Menagerie, Tom speaks extensively to the
audience directly.
SIGNIFICANT PASSAGES –
Scene 2, p.1729- 1730, bottom of the page (“So what are we going to do… LAURA twists her
hands nervously)”), Amanda to Laura
Effect – The main idea Amanda transmits in this passage represents the view of society towards Laura/ cripples/
unmarried women  the only hope she has is to marry
Characterization
- Amanda  This passage portrays her ability to manipulate her daughter, characterizes
her as a nagging mother, but also as a caring one.
- Laura  Her reaction to Amanda’s points (LAURA twists her hands nervously) illustrates
her submission to her mother
- Amanda and Laura’s relationship  Amanda lectures Laura on what “girls are suppose
to do.” Although Amanda does love Laura, it is convenient that what is best for Laura is
also best for her, reveals some selfishness (ex. “Is that the future we’ve mapped out for
ourselves?” vs. for Laura)
Effects of literary features/ style:
- Rhetorical questions  Imply obviousness, presents Laura with the alternatives to getting
married in a negative light (ex. “So what are we going to do the rest of our lives? Stay at
home and watch the parades go by?”)
- Enumeration  Amanda enumerates the problems that arise from staying unmarried in
Laura’s position, gives the effect of infinite consequences (ex. Stay at home and watch
the parades go by? Amuse ourselves with the glass menagerie, darling? Eternally play
those worn-out phonograph records…)
- Pauses  Illustrate that Amanda is convinced of her points and is giving Laura time to
think about it (ex. “I swear it’s the only alternative I can think of! (She pauses.) It isn’t a
very pleasant alternative, is it? (She pauses again)”)
- Italics  Depicts emphasis on what Amanda is trying to convince Laura of doing,
conveys importance (ex. “Of course- some girls do marry.”)
Scene 4, p. 1735, center of the page (“Did you stay through everything?... without removing
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one nail?”), Tom and Laura
Effect – This passage explores the relationship between Tom, Laura, and Amanda, especially the one between
Tom and Amanda (their issues especially drive the plot of the play)
Characterization:
- Tom  Drinks as an escape from his miserable life, he doesn’t deal with his problems
directly. He is also following in his father’s footsteps (his father was a drunkard)
- Laura  She is depicted as a capable protective family member who is willing to help
her troubled brother (whereas she was previously depicted as the fragile girl who needed
to be taken care of)
- Tom and Laura’s relationship  this passage illustrates Laura taking care of Tom just as
he has previously protected her. They have a good relationship.
- Tom and Laura’s relationship with Amanda  they both feel oppressed by her and bond
over this. Although Tom is outspoken about his dislike of his mother, Laura isn’t (she
doesn’t make too much of an effort to stop Tom from waking her up after he insists on
doing so).
Effects of literary features/ style:
- Metaphor  The “magic scarf” is an important symbol for it illustrates the main theme
of truth disguised as illusion (the rainbow scarf, the rainbow coloring being yet another
symbol, is used in a magic trick to cover up a goldfish bowl in order to magically turn the
goldfish into canaries, just as the play uses illusion to cover up/ present the truth)
- Repetition  “coffin” “nail”, emphasize Tom’s feeling of entrapment and oppression in
his house as well as his exhaustion of his cyclical routine (working at the warehouse 
coming home to argue with Amanda  going to the movies). “Turned” “trick”,
emphasize the theme of illusion and it’s recurrence throughout the play
- Exclamation points  Indicate excitement and the extend of Tom’s drunkenness,
presumably for theatrical purposes
Scene 6, p. 1767, center of the page (“In all respects… fishes in his pocket for a cigarette)”),
Jim to Laura
Effect – Jim, as a symbol of the outside world, complements Laura and kisses her, thereby raising her self-esteem
(represents life’s high points)/ the climax of the play
Characterization:
- Jim  His forwardness and initial kindness (before revealing his engagement) depict him
as a positive representation of the outside world
- Laura  Her reaction to the kiss (“… LAURA sinks into the sofa with a bright, dazed
look”) contrasts with her timid personality. Not only did she allow Jim to kiss her but she
seems glad that he did (as opposed to being sick or getting overly nervous and fluttered).
This passage depicts her coming out of her shell; she is comfortable with people as long
as they make the first move.
- Laura’s relationship to the outside world  the fact that she took the kiss well
demonstrates that she could handle the world outside her home.
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Effects of literary features/ style:
- Abundance of exclamation points  Depicts excitement, although the abundance of
exclamation point is presumably for theatrical purposes
- Pauses  Occur when Jim is complimenting Laura, illustrate his nervousness as he is
trying to find the right thing to say (ex. “In all respects- believe me! Your eyes- your
hair- are pretty!”)
- Italics  Creates emphasis on a word, denotes importance (ex. “Somebody- ought tokiss you, Laura!”)
TOM: “Every time you come yelling that Goddamn ‘Rise and Shine! Rise and Shine!’ I say to
myself, “How lucky dead people are!’ But I get up. I go! For sixty-five dollars a month, I give up
all that I dream of doing and being ever! And you say self – self’s all I ever think of. Why, listen,
if self is what I thought of, Mother, I’d be where he is – GONE!”
Effect: This is one of the first times Tom shows his true emotions about his situation with Laura
and Amanda. Tom says this quote during his fight with Amanda and allows the reader to see that
Tom truly does want to leave his family, but he is emotionally bonded to Laura so he must stay.
TOM: “But the wonderfullest trick of all was the coffin trick. We nailed him into a coffin and he
got out of the coffin without removing one nail. . . . There is a trick that would come in handy for
me—get me out of this two-by-four situation! . . . You know it don’t take much intelligence to
get yourself into a nailed-up coffin, Laura. But who in hell ever got himself out of one without
removing one nail?”
Effect: Just as the previous quote began to hint, Tom wants out of his situation, but does not
want to harm Laura in the process. The magician is able to emerge from his coffin without
upsetting a single nail, but the human nails that bind Tom to his home will certainly be upset by
his departure.
LAURA: Little articles of [glass], they’re ornaments mostly! Most of them are little animals
made out of glass, the tiniest little animals in the world. Mother calls them a glass menagerie!
Here’s an example of one, if you’d like to see it! . . . Oh, be careful—if you breathe, it breaks! . .
. You see how the light shines through him?
JIM: It sure does shine!
LAURA: I shouldn’t be partial, but he is my favorite one.
JIM: What kind of a thing is this one supposed to be?
LAURA: Haven’t you noticed the single horn on his forehead?
JIM: A unicorn, huh? —aren’t they extinct in the modern world?
LAURA: I know!
JIM: Poor little fellow, he must feel sort of lonesome
Effect: This scene is in Act 7 just before Jim leaves the Wingfield family. It is important because
this is the first time Laura truly opens up to anybody and by describing the glass menagerie, she
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is also describing herself. Just as the unicorn is different than all other animals, so is Laura in the
story. It is so different, in fact that they are “extinct in the modern world,” and similarly, Laura is
ill adapted for survival in the world in which she lives.
JIM: Aw, aw, aw. Is it broken?
LAURA: Now it is just like all the other horses.
JIM: It’s lost its—
LAURA: Horn! It doesn’t matter. . . . [smiling] I’ll just imagine he had an operation. The horn
was removed to make him feel less—freakish!
Effect: This passage is important because it foreshadows the end of the play. Although it occurs
in scene 7, we can see how Jim mishandles the unicorn just as he will eventually mishandle
Laura by telling her that he is already engaged. The passage is also a metaphor to Laura’s current
situation because just as the unicorn becomes just another horse with a missing horn, Laura has
become an ordinary girl because she has found someone and Jim’s present makes her feel like
less of an outcast. However, shortly after this quote, Laura also says how her hopes will end up
shattered, just like her glass menagerie.
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