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''Death of a Salesman'' is a 1949 Play by Arthur Miller , his most famous and commonly revived work. Viewed by many as a caustic attack on the American Dream of success through economic enterprise, it made both Arthur Miller and lead character '''Willy Loman''' household names. It was greeted with enthusiastic reviews, received the Pulitzer Prize For Drama in 1949 , the 1949 Tony Award For Best Play , and turned Miller into a national sensation as a Playwright . PLOT SYNOPSIS The play centers on Willy Loman, an aging Salesman who is beginning to lose his grip on reality without knowing that he is. Willy places great emphasis on his supposed native charm and ability to make friends; stating that once he was known throughout New England , driving long hours but making unparalleled sales (something true only because of his Philandering with Secretaries ), his sons Biff and Happy were the pride and joy of the neighborhood, and his wife Linda went smiling throughout the day. Unfortunately, time has passed, and now his life seems to be slipping out of control. Willy has worked hard his entire life and ought to be retiring by now, living a life of luxury and closing deals with contractors on the phone—especially since increasing episodes of thoughts, though Biff and Happy—both home for the first time in years—initially have no idea. The play's structure resembles a conversations with Ben. The use of these different 'states' allows Miller to contrast Willy's dreams and the reality of his life in extraordinary detail, and also allows him to contrast the characters themselves, showing them in both sympathetic and Villain ous light, gradually unfolding the story, and refusing to allow the audience a permanent judgement about anyone. When we are in the present the characters abide by the rules of the set, entering only through the stage door to the left, however when we visit Willy's 'past' these rules are removed, with characters openly moving through walls. Whereas the term 'flashback' as a form of cinematography for these scenes is often heard, Miller himself rather speaks of 'mobile concurrences'. In fact, flashbacks would show an objective image of the past. Miller's mobile concurrences, however, rather show highly subjective memories. Furthermore, Willy destroys the boundaries between past and present, and the two start to exist in parallel. The depths of the problem are gradually revealed. Willy's emphasis on being well-liked stems from a belief that it will bring him to perfect success—not a harmful dream in itself, except that he clings to this idea as if it is a life-preserver, refusing to give it up. His boys are not only well-liked but quite handsome, and as far as Willy is concerned, that's all anyone needs. He pitches this idea to his sons so effectively that they believe opportunity will fall into their laps. (In this way, Biff and Happy can be considered forerunners to the head-on, while Willy accuses Biff of throwing his life away simply to hurt Willy's feelings. Despite a raggedly emotional battle of words, neither is able to make much headway, but before Biff gives up, he breaks down in tears: "Will you take that phony dream and burn it before something happens?" Willy is touched that Biff still cares for him after all. As the rest of the family retires, Ben reappears over Willy's shoulder. Willy proclaims that in taking his own life, the attendance at his Funeral would make a show to his doubting son of how popular he was in life, and that, if handled to look accidental, the payout from his Life Insurance policy will allow Biff to start his own business. The neighborhood is drawn out of bed by the roar and smash of Willy's car, despite Ben's warnings that the insurance policy won't be honored in the event of suicide. Thus Willy's grand gesture - and indeed his earlier assertion that one is often "worth more dead than alive" - leaves his family (and especially his wife) in even worse a position than before. THEMES AND POINTS OF INTEREST # One central point of the play is the idea of "greatness". Willy longs to achieve great things as a salesman and to be remembered after his death, and tries to instill this hope in both of his sons. All three fail, while Ben, Charley, and Bernard succeed. Willy is unable to see through his own delusions of the American Dream, which he perceives as the ability to become "great" by obtaining enormous material wealth without any apparent effort, to wander into the jungle and emerge a few years later unspeakably rich. # The differing interpretations of the American Dream are another major theme throughout the play. Biff and Willy both have very different ideas about what it is—Biff dreams purely of the free and open (shown through his desire to be "out there {Link without Title} working with our hands"), while Willy is trapped in distortion of the American Dream promoted by a Capitalist , Materialistic modern society. Happy carries on Willy's ideas through the play and by the Requiem decides to carry on Willy's dreams and desires. # The premium placed on superficial qualities is another common theme throughout the play. The physical good looks of Biff, the importance of being liked and even the attendance of a large number of individuals at one's own funeral are traits that drive Willy to his demise. # Self-Deception and Illusion are important in this play. Many of the characters live in a fantasy world. Willy lives in the past to escape the financial troubles of reality. He also has a false image of success as requiring only easy wealth and popularity. Linda tries to convince herself that her husband is mentally healthy. Happy wants to remain in the dream world set up by Willy while Biff ultimately wants to break free from this mirage and come to terms with Willy's problems and those of the family: Willy's affair, his failing career, and the family's dire financial situation. # Willy does not come to a full self-realization, Anagnorisis , and thus in this aspect does not meet the definition of the Tragic Hero . Thus this play is not a pure Tragedy in the classical sense. FILM AND TELEVISION VERSIONS
REQUIEM Miller's views on the American Dream are clearly demonstrated throughout the play, but especially in the Requiem. Charley's speech, beginning 'Nobody dast blame this man.' sums up the play, and is a fantastic source to quote. 'He don't put a bolt to a nut, he don't tell you the law or give you medicine.' Here, Miller is explaining that being a Salesman does not have a fulfilling role in life. They are not part of something with potential. Building, applying the law and healing the sick are all fulfilling careers, unlike being a Salesman. 'He's a man way out there in the blue, riding on a smile and a shoeshine. And when they start not smiling back-that's an earthquake.' This is saying that the career is materialistic, entirely based on looks and success in persuasion. And if the buyers stop buying, you have nothing left to fall back on. 'A salesman is got to dream, boy. It comes with the territory.': Without a dream, or a purpose, the salesman ceases to exist. The dream is to sell, and if they can't sell, then they are finished. The final sentence of the speech says that salesmen have to dream, otherwise they are failures. However, dreaming is not enough. If they can't fulfill their dreams, they end up in a situation like Willy. BIBLIOGRAPHY ''Born Losers: A History of Failure in America'', by Scott A. Sandage (Harvard University Press, 2005). |
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