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This play shows a conflict between idealism and realism which ends with the latter's victory. Idealism in this play is characterized by Brick's indifference to material gain, his longing for eternal youth, his idealization of friendship, and his disgust at mendacity. But Brick's idealism, though apparently noble and pure, is too weak and impractical to cope with the hard realities of life. On the other hand, the realists of the play are people of great vitality and strength who can overcome all difficulties in life. But they, greedy and mendacious, are ever striving for material success.
Although each side thus shows both positive and negative aspects, the author prefers realism to idealism as long as the former contains such saving virtues as understanding and love. Among the realists of the play, Maggie and Big Daddy are most prominent in showing these virtues that can compensate for their avarice and mendacity. Mae and Gooper are portrayed as abhorrent and even monstrous realists because they have not one dram of virtue that might remedy their numerous vices. Brick's idealism, though charming and even charismatic, also fails to show understanding and love that might cure him of his extreme perfectionism and intolerance. Williams' preference for realism above idealism is also evident in his revised third act in which Brick the idealist ends up with turning to realism to some extent.
Although each side thus shows both positive and negative aspects, the author prefers realism to idealism as long as the former contains such saving virtues as understanding and love. Among the realists of the play, Maggie and Big Daddy are most prominent in showing these virtues that can compensate for their avarice and mendacity. Mae and Gooper are portrayed as abhorrent and even monstrous realists because they have not one dram of virtue that might remedy their numerous vices. Brick's idealism, though charming and even charismatic, also fails to show understanding and love that might cure him of his extreme perfectionism and intolerance. Williams' preference for realism above idealism is also evident in his revised third act in which Brick the idealist ends up with turning to realism to some extent.
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