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      • Cat on a Hot Tin Roof : A Revised American Myth

        Thornton, Songok Han,Thornton, William H. 충남대학교 미국학연구소 1991 美國學論文集 Vol.11 No.-

        The success of Tennessee Williams as a playwrite came with the postwar era, coinciding exactly with America's full transition to global power and to a social structure based not only on industrial values, but increasingly on suburban, white -collar values. Looking back on this transition, it is hard to recapture the newness of it all, or the guilt in the American mind at having thrown away so much of the Puritan heritage. Events of the McCarthy era illustrate that the Americans of this time were not at ease with themselves. They needed reassurance from their politicians and writers that deep down their success came from their real character, not from greed or graft. They needed, in short, a myth to support their new affluence. At first sight Tennessee Williams would seem a poor candidate for this mythic assignment. His writing was too critical when it came to the materialism of the era. His sympathies were too fixed on the victims of change, such as Blanche Du Bois of A Streetcar Named Desire. In looking at the pain of transition, however, Williams faced what many felt but did not admit. He was conservative in his cultural sympathies, yet he was also a realist. Part of his message was that we cannot turn back the clock, as Brick attempted in Cat on a Hot Tin Roof. As this study will show, Williams's social message is much more optimistic than has often been realized. If, for example, we compare the values of Brick with those of Willy Loman in Miller's Death of a Salesman, we see that happiness is impossible for Loman, while for Brick it is simply a matter of overcoming his youthful obstenance. Time is on Brick's side. Meanwhile Big Daddy offers Brick an alternate model of conduct, and even of courage, in his lecture on the manly art of compromise. Brick, if he will take them, has options that are both profitable and socially respectable. Brick's wife, Maggie, unlike Loman's son Biff, is on the side of full compromise. This does not deny her challenge to the ethics of the times, which is part of Williams' most severe social criticism; but the criticism is blunted by the fact that Maggie is attacking the ethics of former times as well. She believes that most "moral" values are a sham in any age. Only the rich, she contends, can afford the luxury of such pretentions. She herself is a social climber, not a social reformer. The one value she stands by is the honesty to see this sham for what it is. Then, like Big Daddy, she compromises herself without shame.

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