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40 pages 1 hour read

Tennessee Williams

Cat on a Hot Tin Roof

Fiction | Play | Adult | Published in 1955

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Act IIIChapter Summaries & Analyses

Act III Summary

Mae, Big Mama, and Reverend Tooker look for Big Daddy. Gooper enters and asks where Big Daddy is. Big Mama thinks he went to bed because being around his family can wear him out, and Gooper suggests they all talk. Maggie enters, talking to Dr. Baugh, and Big Mama remarks on Big Daddy’s appetite at dinner. Gooper hopes his father doesn’t suffer from all the food later, and Big Mama counters that Big Daddy is “sound as a dollar” (2566). She realizes everyone is assembled except Brick, who is outside drinking. She is annoyed that everyone constantly comments on Brick’s drinking, and Maggie adds she doesn’t trust men who don’t drink. She goes out to retrieve Brick, and Big Mama wonders what the family conference is about. She asks someone to open the door, but Mae says they better keep it closed so Big Daddy doesn’t overhear them. The Reverend opens the door anyway.

Suddenly, Mae announces that she thinks Brick might have said something he shouldn’t have to Big Dady. Big Mama wonders what this could mean, and Gooper starts to explain, but Mae stops him. Big Mama starts talking about Skipper’s death and how pained Brick is when he appears behind her. He makes another drink, despite his mother’s protest, saying he is still waiting for the peaceful “click” of alcohol. Maggie tells him to sit with his mother, but he refuses, and Mae slides in instead. Gooper sits in front of Big Mama and says she needs to know the truth about Big Daddy’s condition. Frightened, she asks if there is something she doesn’t know. When Dr. Bough reveals Big Daddy has inoperable cancer, she shouts at Mae to get away from her and calls for Brick, her “only son.” Gooper and Mae are shocked by this request. Big Mama claims Gooper never liked Big Daddy, and the Reverend and Dr. Bough awkwardly take their leave. Dr. Bough leaves behind a package of morphine injections for Big Daddy.

Alone with her family, Big Mama refuses to accept Big Daddy’s diagnosis. She looks to Maggie for support, which causes Gooper and Mae to look anxiously at each other. Gooper says Big Daddy would never be irresponsible enough to leave the estate in Brick’s hands, and insists he and Big Daddy have always been fond of each other in their own way. Mae returns with her husband’s briefcase and interjects that he is older and more responsible than Brick, but Gooper asks her to be quiet. As Maggie searches for Brick, Mae argues Gooper has been running the plantation for years, ever since Big Daddy grew ill. She claims Brick has wasted time reliving his past glory as a football player. Maggie returns and argues that her husband is a successful sports announcer. She claims Gooper and Mae are waging a “deliberate campaign of vilification” (3008) against Brick, and Big Mama demands they stop arguing. Maggie says she and Brick are only on the plantation out of love for his parents. Crying, Big Mama asks her to sit next to her.

Gooper loses patience and admits he resents his parents’ favoritism toward Brick, and is prepared to “protect [his] own interests” (3040). At that moment, Brick returns, and Gooper and Mae mock him. Brick makes another drink, singing softly, and Big Mama insists they end their “catty talk.” Gooper must return to Memphis to represent a client, so they must settle an important matter before he leaves. He takes some paperwork from his briefcase and tells the family that he drew up a sample trusteeship with his business partner. Maggie mutters to herself, and Big Mama again demands an end to the catty talk. She then rages at Gooper to put the document away, and insists no one will do anything with the estate until Big Daddy says so. Brick continues to sing to himself, and she remarks he looks just like he did as a young boy and goes to touch his hair. Big Mama says the family needs to stick together and love one another, now more than ever, and hugs Brick while Gooper and Mae try to recapture her attention. She goes on about how much Big Daddy loves Brick and says it’s his dream for Brick to have a son. Mae remarks on it being a pity that Brick and Maggie can’t fulfill this dream.

Maggie walks to the center of the room and tells everyone to listen to her. With her hands clasped together, she announces she is pregnant. Big Mama is overcome with joy, but Mae is immediately suspicious. In tears, Big Mama rushes out to tell her husband the good news. As Maggie pours Brick another drink, Mae bursts out that everyone knows Maggie is lying. Gooper tells her to shut up, but she persists, reminding Maggie that they know Brick won’t sleep with her. Their argument is interrupted by a cry of pain offstage. Gooper and Mae hurry to check on Big Daddy, leaving Brick and Maggie alone.

Maggie thanks Brick for going along with her story, but he is still preoccupied by the absence of the peaceful “click” of alcohol. He asks her to put his pillow on the sofa, but she insists he won’t be sleeping there tonight. He returns to the liquor cabinet and quickly downs three shots. Finally, with a “gratitude [that] seems almost infinite” (3284), Brick feels the click and hobbles outside. Maggie is left alone, holding the pillow to her chest. She puts the pillow down and hurries to the liquor cabinet, where she takes all the bottles and then hurries out of the room.

Brick is moving his pillow back to the sofa when she reenters. Maggie smiles and tells him that she used to think he was stronger than her, but now she knows better. She reminds him that it is her time of the month to conceive and reveals she will lock up the liquor until he complies. When Brick reaches for his crutch, she throws it over a railing. At that moment, Big Mama rushes in, crying and looking for the package of morphine. She cries to Brick that she cannot bear it before hurrying out again, as Big Daddy’s pain is heard again offstage.

Alone again, Maggie tells Brick that they are “going to make the lie true” (3324), then get drunk together. He cannot think of any way to contradict her, and she turns out the lamp. She says she truly loves him, and he responds “Wouldn’t it be funny if that was true?” (3342).

Act III Analysis

Act III confirms Big Daddy’s cancer and other family members’ ulterior motives. While present throughout the play, the theme of Family Dysfunction and Miscommunication is front and center as characters devolve into accusations and personal agendas. The moment Big Daddy is gone, all pretenses of a birthday party are dropped, illustrating the extent to which the celebration was a performative ploy to gain Big Daddy’s favoritism. Mae in particular doesn’t try to hide her eagerness to discuss Big Daddy’s condition and will. She sits next to Big Mama and treats her with exaggerated affection despite the other woman’s distaste. Mae and Gooper also begin to argue, illustrating the lack of love in their own marriage. 

As Big Mama learns the truth about Big Daddy’s health, her love becomes clear. She is hysterical at the news of his cancer and refuses to be comforted by anyone but Brick. This lack of selfishness makes her unique among the characters: While her love in the face of Big Daddy’s cruelty implies naivete, she is, perhaps, the most genuine character. This authenticity gives Big Mama a sense of dignity that contrasts her unrefined demeanor. Although she shares many similarities with Maggie, Maggie’s love for Brick is tinged with selfishness; she is determined to get her share of Brick’s inheritance to ensure she doesn’t die poor. However, in order to maintain her “almost embarrassingly true-hearted and simple-minded devotion,” Big Mama actively believes lies (2734). She genuinely believed the lie about Big Daddy’s health, even when he himself suspected the truth. She likewise believes Maggie’s lie about her pregnancy, latching on to this fantasy that is “too good to believe” (3173) as a final defense against reality. 

In the play’s final family exchange, Maggie takes charge of the situation and comes out on top. She is the only one to maintain her composure, recognizing an opportunity to secure Brick’s place as Big Daddy’s heir by declaring her pregnancy. This lie implies Brick will become a father and stop drinking, one that no one but Big Mama believes. When Maggie and Brick are finally alone, she reverses their power dynamic: If she cannot have his love, she can at least complete the illusion of a happy family and become the wife of a wealthy plantation owner. Her conviction to “make the lie true” (3324) further complicates the play’s relationship between illusion and reality. Maggie understands Brick has been weakened by his dependence on alcohol, and thus deprives him of both his literal crutch by throwing it over a railing and metaphorical crutch by locking his liquor. Brick’s final line—“Wouldn’t it be funny if that were true?” (3342)—echoes Big Daddy’s response to Big Mama’s earlier declaration of love (1429). It suggests Brick remains unconvinced of Maggie’s love, and that they are destined to follow the dysfunctional path of his parents’ marriage. 

It’s important to note that the play’s final act went through several drastic revisions. The original Broadway production was directed by Elia Kazan, a well-known director who worked with Williams on several of his plays, including A Streetcar Named Desire. Kazan suggested the final act of Cat on a Hot Tin Roof needed three things: Maggie should be more sympathetic, Brick should exhibit a shift in character after his conversation with Big Daddy, and Big Daddy should appear again in the final act. Of these suggestions, Williams was most opposed to the idea of character development for Brick, stating “the moral paralysis of Brick was a root thing in his tragedy” (3505). However, to comply with Kazan’s requests, he altered the play’s ending: Most significantly, he made Brick express admiration for Maggie’s determination, providing a slightly more optimistic ending. 

Throughout Cat on a Hot Tin Roof, Williams suggests the characters cope by Obscuring Reality Through Deception, and the original ending suggests there is no escaping the mendacity of life. 

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