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John s. bak 19 however indirectly, find the symbols and imagery in streetcar as providing clues to this mysterious sojourn. joan wylie hall, for example, traces the roots of streetcar's main symbol back to shakespeare and pater. to better understand stanley's motivation, hall feels, the "gaudy seed-bearer" must be seen as the villainous counterpart of lucio in williams's contemporary rendition of measure for measure. hall argues that since one of stanley's early names was lucio the namesake of the lecher in measure for measure ; , and walter pater describes all the shakespearean characters in this dark comedy as "full of desire" and "vessels of the genial seed-bearing powers of nature [.] [and] gaudy existence, " then we can deduce that stanley was modeled after shakespeare's villain. thus the answer to streetcar could lie in its dark comedy, except that there is as much debate about shakespeare's problem play as there is about williams's. again, although the discussion on symbols illuminates some of the dark pall of streetcar's meaning, the varying conclusions can only add to the existing penumbra. given williams's "plastic language" of symbols which i explore elsewhere as an example of williams's debt to wagner in his use of interwebbing musical leitmotivs to establish a symbolic metalanguage in the play ; , one image may share several interpretations. therefore, those critics who seek to explain streetcar in terms of its symbols do little more than to further muddle the issue at hand--namely, the understanding of streetcar's troublesome ending. the last major critical school thought a resolution to this problem could be reached in an analysis of the play's evolution, in either its story, its themes, or its characters. these critics read the several drafts of streetcar and its one-act predecessors, the private letters of williams to his agent and friends, or the private journals of the directors and actors who produced streetcar as panaceas necessary to cure the play of its ambiguity ills. they compare blanche and other characters to the lesser-known plays and stories williams wrote prior to streetcar to show a conscious rendering in these minor works the theme and characters of the major one. they interview key players in the various productions of streetcar--for instance, uta hagen and peggy rea, blanche and eunice in the clurman production--hoping for that gem of a response that never made it to the printed page. in short, they exhume all the fragments that had in some fashion contributed to the development of a streetcar named desire in the hope of uncovering anything that would help resolve the issue of ambiguity and, by implication, genre. the problem was first addressed by the literary historians who traced blanche through several early one-act plays: she definitely has a heritage, but the conclusions to these plays are as ambiguous as streetcar's ending. philip weissman provides the first attempt to trace blanche's roots to these early williams plays. in "psychoanalyzing blanche, " he searches her predecessors, mrs. hardwicke-moore from the lady of larkspur lotion and willie from this property is condemned, for evidence which could help to solve the blanche riddle [miller, 62]. weissman suggests that the three women are "derivatives of a single image in the author's unconscious" [miller, 61], and are thereby the same woman in each play but at different stages of her life--a thirteen-year-old child, a middle-aged woman, and an.
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