Depiction of Masculinity in On Chesil Beach and A Streetcar Named Desire

Set at such a pivotal point in time on the edge of the sexual revolution, Ian McEwan’s novel On Chesil Beach explores the presentation of masculinity and gender norms/expectations during the early 1960’s, in which it is set. Tennessee Williams’ play, A Streetcar Named Desire, also uses the presentation of masculinity to explore themes of male dominance and patriarchy within relationships, displays of aggression and violence and sexual entitlement. These themes are prominent within both works, and the use of the two different genres is commonly used to present the writers’ ideas about masculinity.

In particular, Williams uses stage directions and symbolism to address these themes whereas McEwan uses phallic imagery and other descriptive literary devices. Furthermore, it is interesting to note that Williams’ A Streetcar Named Desire was written at the same time in which it was set, whereas McEwan’s On Chesil Beach was published fifty years after its setting. This results in the receiving contexts of the two works being very different, and although some aspects such as violence and male sexual entitlement may still be shocking to the modern audience, themes such as male dominance and unjust patriarchy may still be relevant today, thus helping a modern reader to further understand the writers’ messages.

Masculinity is presented alongside displays of violence and aggression throughout Williams’ A Streetcar Named Desire, and animalistic imagery and stage directions are used throughout the opening scenes to foreshadow Stanley’s outburst in scene three. From the moment Stanley sets foot onstage, he is likened to a ‘richly feathered male bird’, suggesting a dominant and territorial nature. He is also later described by Blanche as an ‘ape’ and ‘a little on the primitive side’, to which connotations might suggest that he is of less than human intelligence with savage tendencies. This is also supported by the use of animalistic and aggressive verbs in the stage directions, such as ‘hurls’, ‘kicks’ and ‘stalks’. It can be interpreted that such violent outbursts are used to retain dominance and control through fear, and so these stage directions could be seen as demoralizing for more than one reason. This is because these verbs in particular can also be likened to a small child throwing a tantrum, thus making a mockery of male dominance and the violent side of masculinity as well as further belittling and dehumanising Stanley.

Similarly, a violent outburst in the form of a verbal attack can be seen in McEwan’s On Chesil Beach, as Edward also adopts a more animalistic style of movement and calls Florence a ‘bitch’. This is the first and only expletive used throughout the novel, and combined with the harsh sound of the word, the use of it causes the flow of the dialogue to falter in order to further shock the reader and highlight the seemingly unusual and unexpected change of character. Previously, Edward and Florence have been described as ‘timid lovers’, creating a sense of equal naivety and lack of confidence within their relationship; when put into the context of their later argument, this makes Edward’s outburst seem even more out of character, in direct contrast to the character consistency and foreshadowing used in A Streetcar Named Desire. Within the context of Williams’ play was written, this display of aggression as a feature of hegemonic masculinity was likely to have been ordinary, as illustrated by Stella’s nonchalant response. However, to the modern day reader, such aggressive outbursts throughout both works may be upsetting due to the influence of third wave feminism among other types that still remain relevant today.

Sexual entitlement is a very important theme used by both McEwan and Williams’ to further present masculinity throughout A Streetcar Named Desire and On Chesil Beach. Sexual entitlement is a particularly striking theme in A Streetcar Named Desire, due to the unexpected implied rape scene at the end of scene ten. The nature of such an action would appear shocking, unsettling and upsetting to audiences both original and contemporary, but Williams chooses to purposely downplay the act by referring to it as merely ‘interfering’ with Blanche. This shows that Stanley does not consider the act anywhere near as heinous as any audience member would perceive it to be. Furthermore, Williams describes that Stanley lifts up Blanche’s ‘inert’ figure, and use of this adjective adds to the perception that he feels entitled to sex regardless of the lack of female consent. Throughout A Streetcar Named Desire, Williams also uses Stanley’s sexuality to assert dominance and manipulate Stella after his violent outbursts, as the end of scene three depicts him lifting her off her feet and taking her back into the flat for the night. The significance of lifting her off her feet is that he is once again demonstrating dominance and power by using his physical strength to control Stella. The idea of Stanley using sexual manipulation to assert dominance over Stella is also supported by Simon Bubb, freelance writer and RSC actor, who refers to Stanley as a ‘sensual brute’ in his article on presentation of masculinity throughout the play. The word ‘brute’ links back to Stanley’s previously discussed violent and animalistic nature as well as his physical strength and power, and the adjective ‘sensual’ can be linked to his primitive passion and lust. Williams frequently uses stage directions to depict this; evidence can be found in the direction ‘they come together with low, animal moans’, showing the primitive lust as previously discussed.

On the other hand, throughout On Chesil Beach sex appears to be treated as more of a taboo; the opening sentence states that ‘they lived in a time when a conversation about sexual difficulties was plainly impossible’. Of course, sex during the 1950’s and very early 1960’s was still very much not spoken about openly, in stark comparison to the context in which the novel was written and originally received. As a result of this, Edward is left with an inner desperation for sexual intimacy, which McEwan shows by using rather unsubtle sexual imagery. The description of vegetables with ‘swollen stalks’ and ‘thick-veined leaves’ is a clear reference to the phallus, and the use of the adjective ‘swollen’ creates an urgent sense, indicative of a persistent desire to fulfill his lust. It may also be interpreted that by sexualising nondescript, mundane objects, McEwan is showing Edward’s constant and unrelenting sexual curiosity as a result of his lack of previous experience and virginal naivity.

Although the lack of discussion regarding anything sexual would suggest that Edward is equally as apprehensive as Florence as previously discussed, the quote ‘With my body I thee worship! That’s what you promised today’ is evidence that he feels entitled to sex. Furthermore, he uses Florence’s previously made vow in an attempt to manipulate and humiliate her into fulfilling what he sees as her duty; consummation. The word ‘worship’ has connotations of serving a holy duty, and so it may be interpreted that it Edward views Florence’s function within their marital relationship as to please and obey him sexually. This is further supported by Clive Baldwin, who, in his article discussing masculinity in On Chesil Beach, states that ‘While their relationship and the events of their wedding night are the focus of the narrative, arguably it is Edward’s experience that is at the centre of the text’. This is indicative of the previously discussed idea that, as the man, Edward expects his own sexual needs and desires to come before and override his wife’s.

Male dominance is a very important theme, key to the presentation of masculinity throughout Williams’ play A Streetcar Named Desire and McEwan’s novel On Chesil Beach. Gender roles and expectation at the context in which both works are set dictated that women should be subservient to their dominant and superior husbands. Williams uses stage directions throughout A Streetcar Named Desire in order to depict this. For example, Williams describes Stanley as moving with ‘lordly composure’, and the particular adjective chosen is clearly demonstrative of the patriarchal nature of his relationship with Stella. It is also indicative of his expectation to be served and obeyed in a regal manner, which is comparable to the use of the word ‘worship’ in On Chesil Beach, as previously discussed. Stanley is further described by Simon Bubb as ‘bold, strong, forceful, dynamic, all qualities traditionally thought of as ‘manly’’.

In conclusion, the theme of masculinity is key to Williams’ play A Streetcar Named Desire and McEwan’s novel On Chesil Beach, particularly due to the contexts in which they are set. Themes of male dominance, violence and displays of aggression are used throughout both works to explore the nature of masculinity within the 1940s and the 1950s, and the reaction of the modern day reader can be used to help interpret how gender norms and roles have developed and changed over time. It is important note the different genres of the two works, and consequently the use of different literary devices in order to portray different ideas about the presentation of masculinity. For example, the use of stage directions to depict the nature of actions is crucial to Williams’ presentation of a range different male characters throughout A Streetcar Named Desire, but McEwan uses symbolism, dialogue and phallic imagery to depict Edward’s motives throughout On Chesil Beach. In particular, the focus on violence and sexual entitlement may be distressing to a reader in today’s context.