The Glass Menagerie Scene 7 Summary Essay — страница 2

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fourth wall that drops down into place in front of them. This closing speech is one of the most famous moments in all of Williams’ work, and indeed one of the most haunting and beautiful moments in all of American theatre. He talks about time being the “longest distance between two places,” and his long search to find something that he himself seems unable to name. He tells the audience that for all of the years since he left, he has been pursued by the memory of Laura. Though he tried to leave his family behind, his memory of his mother and sister continues to haunt him. He finishes by imploring his memory of Laura to blow out her candles, “for nowadays the world is lit by lightning.” He says goodbye, although in the script it is unclear whether he is bidding goodbye

to the audience or to his sister. Behind him, visible through the transparent wall, Amanda comforts Laura silently throughout Tom’s speech. When Tom has finished speaking, Laura blows the candles out, ending the play. Analysis: Although a great deal depends on the actor’s interpretation, Jim’s enthusiasm is selfish and empty-headed. He shamelessly leads Laura on, not maliciously but also without any careful consideration. He enjoys her company because, like Tom, Laura remembers his glory days. His speeches praising self-improvement and night classes are symptomatic of the most unimaginative and vapid interpretation of the American dream‹culminating in his appalling praise of the lust for money and power as the cycle on which democracy is built. As Tom said in the opening

of the play, Jim is more a part of the real world than anyone in the Wingfield family. He is fully a creature of the world and worldly pursuits. He knows what no one else does‹that he is engaged‹and he still gives Laura the kiss that raises her hopes before he tells her the truth. Their different memories of school show how self-conscious Laura is. The sound of her brace mortified her back in high school, but Jim cannot remember it at all. Jim tries to convince Laura that she is worthwhile and unique. A more gracious interpretation of his character would argue that part of his motivation is a desire for Laura to see how beautiful she is. The glass unicorn becomes a symbol for Laura. She, like the unicorn, is odd and unique. Both Laura and the unicorn are fragile: Jim

“breaks” both of them. Laura’s gift of the broken unicorn shows the extent of her affection for him. For Jim, the evening has been insignificant. But Laura has harbored a girlish crush on him for many years‹she even saved the program of the play in which he starred‹and the gift of the unicorn, an item that is a symbol of herself, shows how much she still likes him. It is the gift of an odd and painfully shy girl, for whom kissing Jim (probably her first kiss) was a climactic experience. For a brief moment, the Wingfield apartment was a place of dreams. Amanda experienced a return to her girlhood, Laura was able to show someone her glass menagerie, and the place was full of the music from Paradise Dance Hall. But the unicorn is broken, the music of “Paradise” gives

way to the sad sounds of the Victrola, and even Amanda is left without defenses against reality. For the first time, she refers to Laura as “crippled,” breaking her own rule, and she seems to acknowledge that Tom will soon leave them. This scene has its share of rose imagery. The new floor lamp has a rose-colored shade; Laura herself is “Blue Roses.” The rose-colored light makes Laura look beautiful; she is bathed in rose-colored light, she is “Blue Roses,” and she is also, in many ways, the surrogate for Williams’ sister‹whose name was Rose. Williams uses the rose as a motif for Laura to emphasize her delicateness and her beauty, as well as her worth. The fantastic blue color of the flower shows, however, that Laura is not a being of this world. Laura’s

association with a candle in the final moment stands in sharp contrast to a world “lit by lightning.” The image of lighting suggests a hostile and overpowering world, and in the last scene a storm is brewing outside. Especially as a lone figure juxtaposed to the turmoil of the forties and the war to come, Laura seems hopelessly frail and vulnerable. Tom’s closing speech is a great moment. The descending fourth wall puts a powerful but permeable barrier between Tom and his family. They are behind him, behind him in time and in the physical space of the stage, and they are inaudible. Yet he cannot seem to shake the memory of them, and they are clearly visible to the audience. Although he has never explicitly spoken of one of the play’s most important themes‹the conflict