Williams, Tennessee 1914–
Twice a winner of the Pulitzer Prize in Drama, Williams is one of the most important American playwrights of the twentieth century. His work is characteristically concerned with the conflict between illusion and reality, most notably in Cat on a Hot Tin Roof and A Streetcar Named Desire. Because loneliness and disappointment are recurrent in his work, Williams has often been criticized for having a limited perception of the human condition. His later work is generally considered to be of uneven quality, none of it meeting the standards of his prize-winning plays. In addition to drama, Williams also writes novels, short stories, and screenplays. His fiction has often been criticized as being sketchy and undeveloped. (See also CLC, Vols. 1, 2, 5, 7, 8, 11, and Contemporary Authors, Vols. 5-8, rev. ed.)
Nancy Baker Traubitz
Orpheus Descending is a better play than its dismal performance record suggests, a play which has yet to fulfill its potential in production but which even in the printed text represents a significant attempt to re-create myths in the context of our own time.
Although I will consider only those myths with obvious referents in the text to the exclusion of whatever subconscious archetypes we might posit, Williams' autobiographical impulses are important, as he superimposed and strengthened the Orpheus myth upon the myth of the battle between light and dark, the good and evil angels who war in heaven…. [Williams emphasizes] the responsibility which love places upon the poet/singer Orpheus and the pull toward life and fruitfulness that the Orpheus figure creates in those dead souls he meets in the hades of the Torrance Mercantile Store. Williams himself always considered Orpheus Descending autobiographical…. The hero/savior Orpheus of Val, as Williams calls his hero, embodies the playwright as he chooses to see himself, heart on sleeve, "a wild spirited boy who wanders into a conventional community of the South and creates the commotion of a fox in a chicken coop."…
In the play itself we are able to distinguish five separate myth patterns: the loss of Eden, the battle of angels, Christ, Orpheus, and Adonis. (pp. 57-8)
The play is set in Two River County, at once introducing the Eden motif. We learn the power in the play, Jabe Torrance, embodies sterile impotence—he and his wife have money instead of children and do not sleep together—and is dying of a spreading cancer. Jabe "bought" his wife, Lady, and brought her into his hades from a different country and race. (p. 58)
The action of the play begins with the entrance of Carol Cutrere, the outcast member of the oldest and most distinguished family in the county. In the earlier version of the play her name was Cassandra and she retains her function as a prophetess. At her behest the Negro Conjure Man gives the magic Choctaw cry and Valentine Xavior materializes in his snakeskin jacket and carrying his guitar. Almost immediately behind him is Vee, short for Veronica, wife of Sheriff Talbott. Her entrance fixes Val in the Christ role, for like Saint Veronica, who gave Christ her veil to wipe his forehead on his journey up Calvary, Vee dispenses mercy….
As the play progresses, Vee clearly identifies Val as a savior, painting him as Christ in her long contemplated picture of the Last Supper. Val understands her visions, which seek to metamorphose the horror and corruption of life among the living and dead into something of beauty. In their final confrontation, Val kneels to her as she sits in the shoe-fitting chair, symbolically re-enacting the ritual washing of the feet of the disciples. She recognizes him as the figure of Christ in her vision, a vision of such brilliance it has nearly destroyed her physical sight by an influx of spiritual insight. (p. 59)
However, the legend of Christ and Saint Veronica as embodied by Val and Vee is fraught with ambiguities…. Their whole relationship is one of highly charged, barely repressed physical desire. (p. 60)
(The entire section is 5,100 words.)