Abstract
Laura Wingfield of The Glass Menagerie (1944) hardly qualifies as a Romantic superwoman, a majestic ego eager to transcend the “mereness” of mundane human existence. In his narration of the drama at the same time as he plays a part in it, together with his final, self-centered leave-taking from the domestic misery/ménage[rie] of his mother and sister for oceangoing as well as artistic adventure, Tom owns that role.
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Cardullo, R.J. (2015). The Blue Rose of St. Louis. In: A Play Analysis. SensePublishers, Rotterdam. https://doi.org/10.1007/978-94-6300-280-6_8
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