death of a salesman idealism essay

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Analysis of "Death of a Salesman"

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Published: Jan 31, 2024

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Table of contents

Body paragraph 1: the illusion of the american dream, body paragraph 2: the demise of the traditional family, body paragraph 3: the dehumanizing effects of capitalism, body paragraph 4: the evolving definition of success, counterargument: critiques and alternatives, references:.

• Trandell, Jesica et al. "American Dream: Is the American Dream Dead or Alive?" Michael H. Conseur Company, 2020, https://www.ihcnp.com/american-dream/.
• "Family Dynamics - a Look at the American Family." Walden University, http://www.waldenu.edu/connect/newsroom/publications/articles/2012/08-family-dynamics-a-look-at-the-american-family.
• Kasser, Tim. "Materialistic Values and Goals." Psychology Today, 21 June 2012, https://www.psychologytoday.com/us/blog/psychology-and-the-good-life/201206/materialistic-values-and-goals.
• Ramasubbu, Shantala. "Death of a Salesman: A Mindmap and General Notes." Ramasubbu, 2011, https://ramasubbutech.blogspot.com/2011/02/death-of-salesman-mindmap.html.
• SparkNotes Editors. "SparkNote on Death of a Salesman." SparkNotes.com, SparkNotes LLC, 2002, http://www.sparknotes.com/lit/salesman/.

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Tragic Impact of Idealism in "Death of a Salesman"

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The Tragic Tale of Willy Loman

Idealism and Its Effect on Family Relationships

The grim reality, balancing idealism and truth.

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Death of a Salesman Idealism and Truth

Idealism describes the belief or pursuit of a perfect vision often based upon unrealistic principles. This pursuit is often contrasted and opposed by truth. The truth and reality in an individual’s life is what enables this person to remain grounded and down to earth. An individual must set themselves high expectations in order to be their best, but they must also acknowledge the fact that everything they desire is not achievable. The imbalance of idealism and truth in an individual’s life can have calamitous effects. It is significant in an individual’s life because it can lead to the deterioration of an individual’s sanity, destruction of family relationships and ultimately death. This is exemplified in Death of a Salesman by Arthur …show more content…

His excessive pursuit of idealism shatters Willy’s relationship with his son; this is something that he does not have the ability to repair. Willy’s pursuit of idealism in his life was extremely unrealistic and eventually prevented him from having the ability to see the truth in life. He spent his whole life trying to provide for his family. He wanted the life of a salesman. To be well-liked and have a massive funeral when he dies. The reality is that he spent his whole life pursuing unrealistic dreams based on negative personal values. Willy himself points out that he’s “worth more dead than alive.” It’s quite tragic that Willy believes he has to kill himself to feel that he is worth something to his family. The reality of the situation is that his death is in vain. The Loman’s only had one more payment left on the house, and don’t actually need the money anymore. But in his blinded illusion, Willy cannot see through or cope with his failure. This causes him to believe that he is worth nothing more alive and kills himself to enable his family to collect his life insurance money. The unevenness of idealism and truth in an individual’s life can lead to the loss of sanity, deterioration of relationships and even death. By having a good balanced of idealism and truth, there is a greater potential that an individual will discover contentment in life. While pursuing an ideal, an

Death of a Salesman: Willy Loman Essay

Willy Loman was a failure as a family man who never achieved the American Dream. His life is an example of a true downfall, which affects all of those close to him. By living in an illusion, Willy guaranteed that he would be unable to achieve all that he thought he should. As a result, his death is the final confirmation of his failed life. Truly, success could never be achieved in his life, even if he had made plenty of sales. By giving up his dreams and true desires, Willy Loman died long before he crashed his car, and that led him to become every bit the failure that he will

Similarities Between Hamlet And Willy Loman

Willy Loman is a senile salesman who lives a dull life with a depleting career. He has an estranged relationship with his family and believes in the American Dream of effortless success and affluence, but in no way accomplishes it. Feeling like the aim of life is to be favored by others and gaining a materialistic fortune, Willy lives in a world of delusion where

Willy Loman, Jay Gatsby, and the Pursuit of the American Dream

Willy foolishly pursues the wrong dream and constantly lives in an unreal world blinded from reality. Despite his dream Willy constantly attempts to live in an artificial world and claims “If old Wagner was alive I’d be in charge of New York by now” (Miller 14). As a result, Willy often ignores his troubles and denies any financial trouble when he says “business is bad, it’s murderous. But not for me of course” (Miller 51). Another false segment of Willy’s dream includes the success of his two sons Happy and Biff. Biff was a high school football star who never cared about academics and now that he needs a job says “screw the business world” (Miller 61). Ironically, Willy suggests that Biff go west an “be a carpenter, or a cowboy, enjoy yourself!”, an idea that perhaps Willy should have pursued. Constantly advising his boys of the importance of being well liked, Willy fails to stress academics as an important part of life (Miller 40). Furthermore, Willy dies an unexpected death that reveals important causes of the failure to achieve the American dream. At the funeral Linda cries “I made the last payment on the house today... and there’ll be nobody home” to say that she misses Willy but in essence his death freed the Lomans from debt and the hopes and expectations Willy placed on his family (Miller 139). Very few people attend

Comparing The Death Of A Salesman And The Great Gatsby By F. Scott Fitzgerald

One thing that continues to come up in "A Death of a Salesman" is the fact that Willy has this huge desire to be "well liked." This is more important to him than being accomplished or having a good job. He constantly tells Linda and his kids that it is more important to be "well liked" than to be successful at work or in school. He lies to his kids about the fact that he is "well liked" which eventually leads to his two kids growing up as failures. Seeing how his lies have hurt, not only himself, but his children too, Willy decides to do what in his mind, is the only thing he can do to save help his family. He decides to kill himself and then maybe he will have a lot of people show up to his funeral which would mean that he is well liked. Of course no one shows up to the funeral but Willy 's

Pursuit of the American Dream in Great Gatsby and Death of a Salesman

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People from all around the world have dreamed of coming to America and building a successful life for themselves. The "American Dream" is the idea that, through hard work and perseverance, the sky is the limit in terms of financial success and a reliable future. While everyone has a different interpretation of the "American Dream," some people use it as an excuse to justify their own greed and selfish desires. Two respected works of modern American literature, The Great Gatsby and Death of a Salesman, give us insight into how the individual interpretation and pursuit of the "American Dream" can produce tragic

The Self Destruction Of Willy Loman - Death Of A Salesman Essay

In Death of a Salesman, by Arthur Miller, Willy Loman’s life seems to be slowly deteriorating. It is clear that Willy’s predicament is of his own doing, and that his own foolish pride and ignorance lead to his downfall. Willy’s self-destruction involved the uniting of several aspects of his life and his lack of grasping reality in each, consisting of, his relationship with his wife, his relationship and manner in which he brought up his children, Biff and Happy, and lastly his inability to productively earn a living and in doing so, failure to achieve his “American Dream”.

The Power of Irony in "The Death of a Salesman" Essay

he is now no longer able to experience and enjoy that freedom with Linda. It is immensely tragic that at the time when Willy and Linda should be happy, Willy chooses to kill himself. Willy spent his entire life trying to be successful, but he always viewed himself as a failure. However, at the end of the play, they had all of their house payments paid off. He actually was successful and did not know it.After working for so many years in a job that he was never suited for, Willy has finally paid of his mortgage. The irony is that now that he and Linda

The Fall Of Willy Loman Essay

Willy Loman was a man who gradually destroyed himself with false hopes and beliefs. Throughout his entire life Willy believed that he would die a rich and successful man. It was inevitable for him to come crumbling down after years of disillusions. We can look at Willy’s life by examining some of his character traits that brought him down.

Illusion Versus Reality in Death of a Salesman Essay

This is what Willy has been trying to emulate his entire life. Willy's need to feel well-liked is so strong that he often makes up lies about his popularity and success. At times, Willy even believes these lies himself. At one point in the play, Willy tells his family of how well-liked he is in all of his towns and how vital he is to New England. Later, however, he tells Linda that no one remembers him and that the people laugh at him behind his back. As this demonstrates, Willy's need to feel well-liked also causes him to become intensely paranoid. When his son, Biff, for example, is trying to explain why he cannot become successful, Willy believes that Biff is just trying to spite him. Unfortunately, Willy never realizes that his values are flawed. As Biff points out at the end of the play, "he had the wrong dreams."

Death Of A Salesman Self Deception Essay

An individual’s ability to successfully recognize the reality from illusions is significantly influenced by their understanding of themselves. Many choose to use self-perception to prevent themselves from the realization of living through self-deception. However, in Arthur Miller’s modern play, Death of a Salesman, Miller explores the relationship between self-deception and reality through the character development of Biff Loman. Initially, Biff’s perception of himself is tremendously influenced by his father, Willy Loman, who unknowingly, lives a life full of illusions. As a result, these illusions prompt Willy to set unrealistic expectations for Biff. However, as the play progresses, Biff realizes the impracticality of these expectations

Willy's Delusions

In “Death of a Salesman” by Arthur Miller, Willy Loman is the well-developed protagonist of the story. Willy struggles throughout the story with daydreams and delusions that he confuses with reality. These delusions have a huge effect on the story and greatly impact Willy’s life. Willy has a difficult time keeping his bills paid with his job as a traveling salesman. He works long hours and drives long distances for very little success. His delusions cause him to believe that his work is successful when it is far from it. “Willy is self-deluded, believing wholeheartedly in the American Dream of success and wealth. When he fails to achieve this, he commits suicide—yet until the end he never stopped believing in this American Dream” (Sickels).

Death of a Salesman by Arthur Miller: Willy Loman is NOT a Tragic Hero

He then gouges out his eyes and wonders of into the desert (#4). Willy Loman is the son of a middle-class man. He has been working as a traveling salesman for the last forty years. This is not the life of nobility. Nobility is someone that is of a high social class. A nobleman could also be a person in a position of high authority. Willy Loman was a peon of the firm that he was selling for. At one point, he may have been respected, but that time has come and gone. Willy Loman was not endowed with a tragic flaw. His failure in life came from the pretensions of the American dream. All he wants in life was to support his family and see his sons be productive in life. This is at time in American society when many people essentially worked themselves to death. Society cannot be a character flaw, because it represents everyone, not just a tragic flaw in a single man (#1). One could argue that Willy Loman’s tragic flaw was his pride. This was one of Willy’s flaws, but it does not cause his death. His pride kept him from accepting the job that Charlie offered, but it did not keep him from borrowing money from him. The excessive pride flaw did not cause Willy Loman’s death. The cause of Willies death was his desire to provide for his family. This was the American dream at its worst (#1). Willy never realizes that he made a few irreversible mistakes. The first mistake was how he raises his sons.

Theme Of Materialism In Death Of A Salesman

In a competition-filled environment, the ability to thrive is directly related to achieving more than the competition. Through the medium of money, overzealous comparisons can be formed about the success of others. Defining success tangibly as possessing a certain amount of currency leaves out the emotional aspect of a career. Having a reason to work other than sheer sustenance allows for any job to be valued rather than dreaded. The understanding that money and materialism are second to personal fulfillment prevents the possibility of disenchantment with the necessity of labor. The loss of focus on personal fulfillment occurs because of the strength of materialistic desires have the ability to lead one astray. In Death of a Salesman, materialism continually pressures members of the Loman family, creating enough strife to never allow them to reach their respective visions of success.

Willy Loman's Death

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Willy is also fired from his long time job. He feels abandoned by his boss and snubbed after all his long years of hard work. Perhaps the most damaging abandonment in Willy’s life is from that of his sons. All these factors combined attribute to Willy’s feelings that a he is worth more dead than alive. Consequently Willy makes many failed attempts at committing suicide. Ironically he does so many times by inhaling gas through a rubber tube. This is ironic being that gas is used to provide an essential element of comfort he struggles to provide his family. Willy is metaphorically and literally being killed by the gas particles. In the end Willy is successful in his last suicide attempt. He has reached bottom low and feels he is truly worth more to his family dead than alive. Throughout this play, Miller uses Willy’s failed goal of reaching the American Dream to show the effects of abandonment on the ability of Willy to decipher reality from fiction, the toll on his family, and his fragile emotional state.

The Confusion Between Illusion and Reality in Death of a Salesman

• 1 Works Cited

Apart from Willy’s delusion of his own success, he also sees his sons as great successes in the business world, and that they will amount to so much in their lives. These boys cannot be successful because they have been “[blown] so full of hot air [they] could never stand taking orders from anybody” (131). Willy’s illusions about his sons not only ruined Willy’s life, but it caused these boys to have a false sense of reality, which is the theme. This false sense of reality leads to their downfall in the business world because Willy had built them up so high that they believed they should be the one giving the orders, not taking them. When Willy tells his boys “together [you] could absolutely lick the civilized world” (64), this is an example of the way Willy falsely sees his boys and fills their

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Home › Drama Criticism › Analysis of Arthur Miller’s Death of a Salesman

Analysis of Arthur Miller’s Death of a Salesman

By NASRULLAH MAMBROL on July 30, 2020 • ( 0 )

Arthur Miller’s Death of a Salesman is, perhaps, to this time, the most mature example of a myth of Contemporary life. The chief value of this drama is its attempt to reveal those ultimate meanings which are resident in modern experience. Perhaps the most significant comment on this play is not its literary achievement, as such, but is, rather, the impact which it has had on spectators, both in America and abroad. The influence of this drama, first performed in 1949, continues to grow in World Theatre. For it articulates, in language which can be appreciated by popular audiences, certain new dimensions of the human dilemma.

—Esther Merle Jackson, “ Death of a Salesman : Tragic Myth in the Modern Theatre”

It can be argued that the Great American Novel—that always elusive imaginative summation of the American experience—became the Great American Drama in Arthur Miller’s Death of a Salesman . Along with Eugene O’Neill’s Long Day’s Journey into Night , Miller’s masterpiece forms the defining myth of the American family and the American dream. F. Scott Fitzgerald’s The Great Gatsby is the play’s only rival in American literature in expressing the tragic side of the American myth of success and the ill-fated American dreamers. A landmark and cornerstone 20th-century drama, Death of a Salesman is crucial in the history of American theater in presenting on stage an archetypal family drama that is simultaneously intimate and representative, social and psychological, realistic and expressionistic. Critic Lois Gordon has called it “the major American drama of the 1940s” that “remains unequalled in its brilliant and original fusion of realistic and poetic techniques, its richness of visual and verbal texture, and its wide range of emotional impact.” Miller’s play, perhaps more than any other, established American drama as the decisive arena for addressing the key questions of American identity and social and moral values, while pioneering methods of expression that liberated American theater. The drama about the life and death of salesman Willy Loman is both thoroughly local in capturing a particular time and place and universal, one of the most popular and adapted American plays worldwide. Willy Loman has become the contemporary Everyman, prompting widespread identification and sympathy. By centering his tragedy on a lower middle-class protagonist—insisting, as he argued in “Tragedy and the Common Man,” that “the common man is as apt a subject for tragedy in its highest sense as kings were”—Miller completed the democratization of drama that had begun in the 19th century while setting the terms for a key debate over dramatic genres that has persisted since Death of a Salesman opened in 1949.

Miller’s subjects, themes, and dramatic mission reflect his life experiences, informed by the Great Depression, which he regarded as a “moral catastrophe,” rivaled, in his view, only by the Civil War in its profound impact on American life. Miller was born in 1915, in New York City. His father, who had emigrated from Austria at the age of six, was a successful coat manufacturer, prosperous enough to afford a chauffeur and a large apartment over-looking Central Park. For Miller’s family, an embodiment of the American dream that hard work and drive are rewarded, the stock market crash of 1929 changed everything. The business was lost, and the family was forced to move to considerably reduced circumstances in the Flatbush section of Brooklyn in a small frame house that served as the model for the Lomans’ residence. Miller’s father never fully recovered from his business failure, and his mother was often depressed and embittered by the family’s poverty, though both continued to live in hope of an economic recovery to come. For Miller the depression exposed the hollowness and fragility of the American dream of material success and the social injustice inherent in an economic system that created so many blameless casualties. The paradoxes of American success—its stimulation of both dreams and guilt when lost or unrealized, as well as the conflict it created between self-interest and social responsibility—would become dominant themes in Miller’s work. As a high school student Miller was more interested in sports than studies. “Until the age of seventeen I can safely say that I never read a book weightier than Tom Swift , and Rover Boys, ” Miller recalled, “and only verged on literature with some of Dickens. . . . I passed through the public school system unscathed.” After graduating from high school in 1932 Miller went to work in an auto parts warehouse in Manhattan. It was during his subway commute to and from his job that Miller began reading, discovering both the power of serious literature to change the way one sees the world and his vocation: “A book that changed my life was The Brothers Karamazov which I picked up, I don’t know how or why, and all at once believed I was born to be a writer.”

In 1934 Miller was accepted as a journalism student at the University of Michigan. There he found a campus engaged by the social issues of the day: “The place was full of speeches, meetings and leaflets. It was jumping with Issues. . . . It was, in short, the testing ground for all my prejudices, my beliefs and my ignorance, and it helped to lay out the boundaries of my life.” At Michigan Miller wrote his first play, despite having seen only two plays years before, to compete for prize money he needed for tuition. Failing in his first attempt he would eventually twice win the Avery Hopwood Award. Winning “made me confident I could go ahead from there. It left me with the belief that the ability to write plays is born into one, and that it is a kind of sport of the mind.” Miller became convinced that “with the exception of a doctor saving a life, writing a worthy play was the most important thing a human could do.” He would embrace the role of the playwright as social conscience and reformer who could help change America, by, as he put it “grabbing people and shaking them by the back of the neck.” Two years after graduating in 1938, having moved back to Brooklyn and married his college sweetheart, Miller had completed six plays, all but one of them rejected by producers. The Man Who Had All the Luck, a play examining the ambiguities of success and the money ethic, managed a run of only four performances on Broadway in 1944. Miller went to work at the Brooklyn Navy Yard, tried his hand at radio scripts, and attempted one more play. “I laid myself a wager,” he wrote in his autobiography. “I would hold back this play until I was as sure as I could be that every page was integral to the whole and would work; then, if my judgment of it proved wrong, I would leave the theater behind and write in other forms.” The play was All My Sons, about a successful manufacturer who sells defective aircraft parts and is made to face the consequences of his crime and his responsibilities. It is Miller’s version of a Henrik Ibsen problem play, linking a family drama to wider social issues. Named one of the top-10 plays of 1947, All My Sons won the Tony Award and the New York Drama Critics’ Circle Award over Eugene O’Neill’s The Iceman Cometh. The play’s success allowed Miller to buy property in rural Connecticut where he built a small studio and began work on Death of a Salesman .

This play, subtitled “Certain Private Conversations in Two Acts and a Requiem,” about the last 24 hours of an aging and failing traveling salesman misguided by the American dream, began, as the playwright recounts in his introduction to his Collected Plays , with an initial image

of an enormous face the height of the proscenium arch which would appear and then open up, and we would see the inside of a man’s head. In fact, The Inside of His Head was the first title. . . . The image was in direct opposition to the method of All My Sons —a method one might call linear or eventual in that one fact or incident creates the necessity for the next. The Salesman image was from the beginning absorbed with the concept that nothing in life comes “next” but that everything exists together and at the same time within us; that there is no past to be “brought forward” in a human being, but that he is his past at every moment. . . . I wished to create a form which, in itself as a form, would literally be the process of Willy Loman’s way of mind.

The play took shape by staging the past in the present, not through flashbacks of Willy’s life but by what the playwright called “mobile concurrency of past and present.” Miller recalled beginning

with only one firm piece of knowledge and this was that Loman was to destroy himself. How it would wander before it got to that point I did not know and resolved not to care. I was convinced only that if I could make him remember enough he would kill himself, and the structure of the play was determined by what was needed to draw up his memories like a mass of tangled roots without ends or beginning.

At once realistic in its documentation of American family life and expressionistic in its embodiment of consciousness on stage, Death of a Salesman opens with the 63-year-old Willy Loman’s return to his Brooklyn home, revealing to his worried wife, Linda, that he kept losing control of his car on a selling trip to Boston. Increasingly at the mercy of his memories Willy, in Miller’s analysis, “is literally at that terrible moment when the voice of the past is no longer distant but quite as loud as the voice of the present.” Reflecting its protagonist, “The way of telling the tale . . . is as mad as Willy and as abrupt and as suddenly lyrical.” The family’s present—Willy’s increasing mental instability, his failure to earn the commissions he needs to survive, and his disappointment that his sons, Biff and Happy, have failed to live up to expectations—intersects with scenes from the past in which both their dreams and the basis for their disillusionment are exposed. In the present Biff, the onetime star high school athlete with seeming unlimited prospects in his doting father’s estimation, is 34, having returned home from another failed job out west and harboring an unidentified resentment of his father. As Biff confesses, “everytime I come back here I know that all I’ve done is to waste my life.” His brother, Happy, is a deceitful womanizer trapped in a dead-end job who confesses that despite having his own apartment, “a car, and plenty of women . . . still, goddammit, I’m lonely.” The present frustrations of father and sons collide with Willy’s memory when all was youthful promise and family harmony. In a scene in which Biff with the prospect of a college scholarship seems on the brink of attaining all Willy has expected of him, both boys hang on their father’s every word as he exults in his triumphs as a successful salesman:

America is full of beautiful towns and fine, upstanding people. And they know me, boys, they know me up and down New England. The finest people. And when I bring you fellas up, there’ll be open sesame for all of us, ’cause one thing, boys: I have friends. I can park my car in any street in New England, and the cops protect it like their own.

Triumphantly, Willy passes on his secret of success: “Be liked and you will never want.” His advice exposes the fatal fl aw in his life view that defines success by exterior rather than interior values, by appearance and possessions rather than core morals. Even in his confident memory, however, evidence of the undermining of his self-confidence and aspirations occurs as Biff plays with a football he has stolen and father and son ignore the warning of the grind Bernard (who “is liked, but he’s not well liked”) that Biff risks graduating by not studying. Willy’s popularity and prowess as a salesman are undermined by Linda’s calculation of her husband’s declining commissions, prompting Willy to confess that “people don’t seem to take to me.” Invading Willy’s memory is the realization that he is far from the respected and resourceful salesman he has boasted being to his sons as he struggles to meet the payments on the modern appliances that equip the American dream of success. Moreover, to boost his sagging spirits on the road he has been unfaithful to his loving and supportive wife. To protect himself from these hurtful memories Willy is plunged back into the present for a card game with Bernard’s father, Charley. Again the past intrudes in the form of a memory of a rare visit by Willy’s older brother, Ben, who has become rich and whose secrets for success elude Willy. Back in the present Willy is hopeful at Biff’s plan to go see an old employer, Bill Oliver, for the money to start up a Loman Brothers sporting goods line. The act ends with Willy’s memory of Biff’s greatest moment—the high school football championship:

Like a young god. Hercules—something like that. And the sun, the sun all around him. Remember how he waved to me? Right up from the field, with the representatives of three colleges standing by? And the buyers I brought, and the cheers when he came out—Loman, Loman, Loman! God Almighty, he’ll be great yet. A star like that, magnificent, can never really fade away!

The second act shatters all prospects, revealing the full truth that Willy has long evaded about himself and his family in a series of crushing blows. Expecting to trade on his 34 years of loyal service to his employer for a nontraveling, salaried position in New York, Willy is forced to beg for a smaller and smaller salary before he is fired outright, prompting one of the great lines of the play: “You can’t eat the orange and throw the peel away—a man is not a piece of fruit.” Rejecting out of pride a job offer from Charley, Willy meets his son for dinner where Biff reveals that his get-rich scheme has collapsed. Bill Oliver did not remember who he was, kept him waiting for hours, and resentfully Biff has stolen his fountain pen from his desk. Biff now insists that Willy face the truth—that Biff was only a shipping clerk and that Oliver owes him nothing—but Willy refuses to listen, with his need to believe in his son and the future forcing Biff to manufacture a happier version of his meeting and its outcome. Biff’s anger and resentment over the old family lies about his prospects, however, cause Willy to relive the impetus of Biff’s loss of faith in him in one of the tour de force scenes in modern drama. Biff and Happy’s attempt to pick up two women at the restaurant interconnects with Willy’s memory of Biff’s arrival at Willy’s Boston hotel unannounced. There he discovers a partially dressed woman in his father’s room. Having failed his math class and jeopardized his scholarship, Biff has come to his father for help. Willy’s betrayal of Linda, however, exposes the hollowness of Willy’s moral authority and the disjunction between the dreams Willy sells and its reality:

Willy: She’s nothing to me, Biff. I was lonely, I was terribly lonely.

Biff: You—you gave her Mama’s stockings!

Willy: I gave you an order!

Biff: Don’t touch me, you—liar!

Willy: Apologize for that!

Biff: You fake! You phony little fake! You fake!

Willy’s guilt over the collapse of his son’s belief in him leads him to a final redemptive dream. Returning home, symbolically outside planting seeds, he discusses with Ben his scheme to kill himself for the insurance money as a legacy to his family and a final proof of his worth as a provider of his sons’ success. Before realizing this dream Willy must endure a final assault of truth from Biff who confesses to being nothing more than a thief and a bum, incapable of holding down a job—someone who is, like Willy, a “dime a dozen,” no better than any other hopeless striver: “I am not a leader of men, Willy, and neither are you. You were never anything but a hard-working drummer who landed in the ash can like all the rest of them!” Biff’s fury explodes into a tearful embrace of his father. After Biff departs upstairs the significance of his words and actions are both realized and lost by the chronic dreamer:

Willy, after a long pause, astonished, elevated Isn’t that—isn’t that remarkable? Biff—he likes me!

Linda: He loves you, Willy!

Happy ,deeply moved Always did, Pop.

Willy: Oh. Biff! Staring wildly: He cried! Cried to me. He is choking with his love, and now cries out his promise: That boy—that boy is going to be magnificent!

Analysis of Arthur Miller’s Plays

Doggedly holding onto the dream of his son’s prospects, sustained by his son’s love, Willy finally sets out in his car to carry out his plan, while the scene shifts to his funeral in which Linda tries to understand her husband’s death, and Charley provides the eulogy:

Nobody dast blame this man. You don’t understand: Willy was a salesman. And for a salesman, there is no rock bottom to the life. He don’t put a bolt to a nut, he don’t tell you the law or give you medicine. 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. And then you get a couple of spots on your hat, and you’re finished. Nobody dast blame this man. A salesman is got to dream, boy. It comes with the territory.

Linda delivers the final, heartbreaking lines over her husband’s grave: “Willy. I made the last payment on the house today. Today, dear. And there’ll be nobody home. We’re free and clear. We’re free. We’re free . . . We’re free. . . .”

The power and persistence of Death of a Salesman derives from its remarkably intimate view of the dynamic of a family driven by their collective dreams. Critical debate over whether Willy lacks the stature or self-knowledge to qualify as a tragic hero seems beside the point in performance. Few other modern dramas have so powerfully elicited pity and terror in their audiences. Whether Willy is a tragic hero or Death of a Salesman is a modern tragedy in any Aristotelian sense, he and his story have become core American myths. Few critics worry over whether Jay Gatsby is a tragic hero, but Gatsby shares with Willy Loman the essential American capacity to dream and to be destroyed by what he dreams. The concluding lines of The Great Gatsby equally serve as a requiem for both men:

Gatsby believed in the green light, the orgiastic future that year by year recedes before us. It eludes us then, but that’s no matter—tomorrow we will run faster, stretch out our arms farther . . . And one fine morning—

So we beat on, boats against the current, borne back ceaselessly into the past.

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Exploration of Idealism and Realism in Arthur Miller's Play, Death of a Salesman

2022, Gloabal Language Review

The current research examines the elements of Idealism and Realism in Arthur Miller's play Death of a Salesman. Miller's play is opted through purposive sampling technique. Primary source, a Play, Death of a Salesman, and secondary sources, such as dissertations, articles, thesis, and newspapers are used as an instrument for data collection. Plato's Idealism and the realism of Aristotle are used as a framework for the present work. Idealism is revealed through the analysis of the hero, Willy Loman's Character. The protagonist misunderstands American Dream, he is a dreamer salesman. He wants to become a successful businessman, but he fails. Willy lives in illusions, while the real world is absolutely different. He is the echo of postmodern American society. Realism is an important theory identified in Miller's play, Death of a Salesman. Charley is a practical character in the play, his approach is rational, practical and realistic towards life.

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ABSTRACT This study aims to analyze Arthur Miller's greatest tragedy Death of a Salesman, utilizing the new historicist approach as the main methodology. The study chiefly examines the outside contexts regarding the biographical, historical, political, social and cultural contexts, making special reference to the characters, themes and events of the play. The findings of the study show that Miller's Death of a Salesman is a product of its time, place, circumstances and the playwright’s biography. The play is a social commentary on certain values, beliefs and morals that were common in the American society in the 1930s. Despite Miller’s artistic creativity, he was affected by particular historical events such as the Great Depression (1929-1939), World War II, The Cold War, the wide spread of capitalism and the economic boom of the late 1940s. Finally, the themes of the play are drawn from Miller's society such as the failure of the American dream, the family theme, father-son relationship and mother-son relationship. Key Words: Death of a salesman, New Historicism, Great Depression, Capitalism

Arthur Miller, one of the prolific writers in America. He received the Pulitzer Prize for the play Death of a Salesman in 1949. This play represents a successful attempt to blend the themes of social, personal and psychological tragedy within the some dramatic framework. It is also represents the theme of American tragedy. This play explores protagonist downfall and final defeat illustrate not only the failure of man but also the failure of way of life. It gives the clear picture of psychological tragedy of American lower middle class man. This article attempts focus on the psychological tragedy of salesman

Arts and Social Sciences Journal, 2018

Jahan e tahqeeq, 2022

The present paper focuses on the cherished American dream, the reality and the reality manifested. The two have always been poles apart. But with this there is another reality i.e., the willingness of followers to be conned. The best of American Dream is divulged in the Death of the Salesman by Arthur Miller. The more we study profoundly, the eccentric character of a typical salesman Willy Loman, the more unpredictability of the American dreams unfolds itself, layer by layer. That Salesman is not of one cadre of society, rather he has in himself several other strata too. He is typified for middle class, lower middle class and even those who wish to be of any class, to be one with the society. Even, through his character we can make psychoanalysis of people of such character, demeanor or the profession existing all around us. But will it be the psychoanalysis of the man himself or the psychoanalysis of the American Dream personified. Loman's dysfunctional family, and his own life too, show the seething impressions of standardized lifeexplicitly, norms of American Success Formula. The tragic death he meets in the end, fixedly focuses on the death of the American Dream itself. But the most drastic aspect of it is the Existentialism, pervaded into the lives of these people taking them to the unrealistic goals.

This research aims at describing the influence of American Dream on Willy Loman’s characterization as a husband, father, and a salesman. The research applied a library research to collect information about the Death of a Salesman, American Dream and the author, Arthur Miller In doing the analysis, the writer used the structural method and sociological approach. The data were analyzed the characterization of Willy Loman by using structural approach, the writer continued her analysis to find out the influence of American Dream on Willy Loman’s characterizations by using sociological approach. The result of the research shows that Willy Loman’s characterizations are influenced by his ambition to pursue his American Dream. Willy Loman’s dream for being successful salesman and as a father makes him disappointed after he knows that he is fired from Howard’s Company and when he realizes that Biff in 34 years old does not has a proper...

This study aims to broaden and sharpen the critical thinking in understanding and analyzing the text of the play or in any literary works through Given Circumstances approach. The given circumstance approach has never been the limelight in the school of literary criticism but the sheer of relatedness to the Russian formalism has been very apparent. The data of this study is mainly sourced from the text of Death of a Salesman. This winning Pulitzer play written by a renowned playwright whose works are much more celebrated to be the overlooking of American's plight in the post war and American great depression, he is Arthur miller. This study finds out that there are certain circumstances that can be utilized for readers, actors or anyone interested to delve and comprehend more into the play. The Circumstances are (A) environmental facts which include: 1.

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