The Glass Menagerie is a play about coming-of-age. Tom’s maturity is demonstrated by his final decision to leave the family, a decision that is made with the awareness of the inevitable clash between illusion and reality, between reaction and action, and between what life has given him and what he can control. In the opening of the play, Tom announces that unlike a stage magician who “gives you illusion that has the appearance of truth,” he gives the audience “truth in the pleasant disguise of illusion.” Amanda is just such a stage magician, manufacturing illusion in the appearance of truth. Her problem is neither that she is insensitive nor that she is an overprotective mother attempting to keep her children under her wings. Her dilemma is that she is an anachronistic figure who clings “frantically to another time and place.” Tradition, the main cause of Amanda’s obliviousness to changes in society, is as important to her as her relationship with reality. Her faith in the “gentleman caller” tradition not only results in a failed marriage but also leads to the disastrous meeting between Jim and Laura.
Amanda’s husband does not appear in the play, but his character plays an important role in demonstrating and accentuating Amanda’s blindness. Mr. Wingfield, a bona fide gentleman caller, was hand-picked by Amanda to marry. He was also an irresponsible pleasure-seeker who later deserted the family for his own enjoyment of life. His abandonment of the family, in addition to announcing the death of the marriage, challenges the credibility of the “gentleman caller” tradition. Amanda is too nostalgically myopic, however, to see the portentous implication and too hopelessly dazzled by its glamour to admit its destructive potential. Thus, the circular movement of the play is not only underlined by the fact that Laura ends where she starts but also displayed in the emotional toll that two generations have to pay for living in an world of illusion.
Laura’s tie to her make-believe world is as...
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