46 pages 1 hour read

Sweet Bird of Youth

Fiction | Play | Adult | Published in 1959

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Act I, Scene 1Chapter Summaries & Analyses

Content Warning: This section of the guide includes discussion of substance use, sexual violence, and sexual content.

Act I, Scene 1 Summary

The play is primarily set at the Royal Palms Hotel in the fictional town of St. Cloud, Florida, on the Gulf Coast. The grand hotel has a “Moorish” design. On the grounds is a palm garden. The sound of the wind blowing through the palm leaves is referred to as “The Lament.”


The play opens in a room at the hotel. It is morning. On the hotel bed is a middle-aged woman sleeping with an eye mask while a shirtless young man, Chance Wayne, sits up beside her, lighting a cigarette. The woman is a film star named Alexandera Del Lago. Chance and the script refer to her as Princess Kosmnomopolis, the name by which she introduced herself to Chance.


A Black member of the hotel staff, dubbed “Fly,” arrives with coffee and Alka-Seltzer (“bromo”). Chance asks Fly to prepare the medicine for him because his hands are shaking from his hangover. They hear church bells and a church choir nearby singing “The Alleluia Chorus.” Fly explains that it is Easter Sunday.


Fly leaves, and George Scudder, the medical director at the local hospital, knocks on the door. Chance lets him in. Scudder explains that the assistant manager of the hotel called that morning to tell him that Chance had returned to his hometown of St. Cloud. Chance says that he came back to see his mother and his “girl,” Heavenly. Scudder says that Chance’s mother died weeks ago. He did not have an address for Chance, but he tried to contact him to let him know. Scudder also tells Chance that he sent him a letter about Heavenly’s “tragic ordeal, because of past contact with you” (22). Scudder and Heavenly are now engaged to be married. Shaken by this, Chance collapses. After Scudder leaves, Chance tries to call Aunt Nonnie, Heavenly’s aunt, but she hangs up on him.


The Princess cries out in her sleep. She wakes from a nightmare and asks Chance for her oxygen mask, her pills, and vodka. He provides these. The assistant hotel manager, Mr. Hatcher, then calls the room and says that the manager wants them to check out. Chance explains that the Princess is unwell and that they cannot leave yet. He hangs up.


Chance takes out a tape recorder and sets it to record. He tells the Princess that she has put on weight “after that disappointment [she] had last month” (28). The Princess seems confused about who Chance is and how they met. She asks for her glasses. Chance explains that one of the lenses is broken from an incident the night before but that she knows what he looks like. The Princess begins to touch Chance’s chest. He moves away from her, and, angry, she demands that he take the broken lens out of her glasses. She asks for the phone, but he holds her “like a trapped rabbit” (32), preventing her from using it. He tells her that the day before, they drove through Tallahassee and purchased vodka there. She had too much to drink, and he decided to stop in his hometown of St. Cloud.


The Princess tries to go to the window, but she is too drunk and disoriented to make it and collapses. Chance helps her into the bed. She asks him to get out her hash. He does so, rolling a hash cigarette for her. He asks her how she acquired the hash. She explains that a doctor imported it to “a shifty young gentleman who thought he could blackmail [her] for it” (36). Then, she monologues about how it was ridiculous to think that she could mount a comeback as a middle-aged woman. She tells Chance that when she saw her face in the close-up at her recent movie premiere, she was so horrified at the sight that she fled the theater.


When her cigarette goes out, Chance hands her another. He asks her leading questions to get her to admit that the hash is hers and that she introduced him to it. He reveals that they met when he smelled the hash outside her room at a hotel in Palm Beach, where he worked. He introduced himself to her under the false name “Carl.” Princess goes to the window, and The Lament is heard. Chance explains that the Princess agreed to put him under contract as an actor with a movie studio and that they signed legal papers to that effect. However, Chance doubts that she will hold up her end of the bargain, so he has recorded her admission about the hash on the tape recorder to blackmail her. She is furious, but then she resolves to make the situation work in her favor. She intimates to Chance that she will give him a substantial sum in traveler’s checks if he makes her “almost believe that [they’re] a pair of young lovers without any shame” (48), i.e., if they sleep together.

Act I, Scene 1 Analysis

Act I of Sweet Bird of Youth introduces the two lead characters, Chance and Princess Kosmonopolis. As in a typical three-act play structure, Act I, Scene 1 provides insight into what each of the leads wants—that is, the key motivations that define their personalities and actions. However, Tennessee Williams creates a layer of complexity, such that there is a distance between the characters’ stated desires and their true wants, which are sublimated. 


This dynamic, which borrows from the Freudian psychology popular at the time of the play’s writing, is evident in the exchange between Chance and Dr. George Scudder. Scudder asks Chance why he is in St. Cloud, to which Chance replies, “I’ve still got a mother and a girl in St. Cloud. How’s Heavenly, George?” (20) When, a little further on, Scudder repeats the question, Chance replies, “I heard that my mother was sick” (20). Scudder then points out, “But you said, ‘How’s Heavenly,’ not ‘How’s my mother,’” (20). Scudder (a doctor, though not a psychiatrist) here analyzes Chance’s language in a way that signals to the audience that Chance is not being honest with others, or himself, about his motivations. Chance is not motivated by care for his mother: As Scudder implies, Chance wants Heavenly. However, the sublimation goes deeper than that. As his dialogue with the Princess in Act I, Scene 2 will reveal, Chance does not desire Heavenly for herself. Indeed, he displays only a rudimentary understanding of her. He wants to win Heavenly back because she is an avatar for his youth, sexual satisfaction, and brush with fame.


Likewise, the Princess’s sublimated desire is also The Destructive Pursuit of Youth and Fame, which she expresses through her desire for Chance’s erotic attention and company. His affection, even when coerced, is a temporarily effective stand-in for the attention and affection of the crowds. That the Princess is fleeing what she believes to be public disgust at her age renders this desire more urgent. Like Chance, her language both illuminates and obfuscates this deeper psychological reality, as when she tells him, “I have only one way to forget these things I don’t want to remember and that’s through the act of love-making” (47). This language is illuminating in that it highlights how she is insecure about her loss of youth and its associated fame, but it obscures this insecurity by couching it in terms of “forgetting.” In reality, having sex with Chance will put her in glancing contact with her youth and the sense of feeling desired that she associates with fame.


This destructive pursuit of youth and fame has led the Princess and Chance to manipulate those around them, introducing the theme of The Universality of Exploitation and Transactional Relationships. They are using each other for sex and desire (the Princess) or money and a shot at stardom (Chance) in furtherance of this overarching and ultimately shared goal. It is this toxic pursuit that binds them together—a point underscored by their shared drug and alcohol use. These substances serve as a proxy for other desires; that they can result in literal amnesia (e.g., the Princess’s inability to remember how she met Chance) underscores their relationship to sublimation and repression, both of which entail a kind of forgetting. The juxtaposition of the Princess’s substance use with her ill health, as when she asks for both an oxygen mask and vodka, also punctuates the play’s exploration of aging, suggesting someone trying to hang on to the partying of their youth.


Two other significant symbols/motifs emerge in this first scene, both intertwined with the play’s setting. One is the fact that it is Easter Sunday: the celebration of Jesus’s resurrection, in Christian tradition. This figuratively (and, ultimately, ironically) echoes the characters’ desires for renewal and rebirth. The other element is “The Lament,” or the noise of the wind in the palms. As its name suggests, this serves as a motif that highlights the play’s tragedy. In this scene, for example, it appears as Chance records the Princess in an effort to blackmail her.

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