Arthur Miller is a distinctive dramatist in his own right, with extensive uses of dramatic elements in his plays, such as sound, particular attention to stage settings, and his dialogues. Critics have noted the impact of his relatively simple use of language for his dialogues, with no grandiose wordplay whatsoever- in its simplicity lies its beauty. Another aspect of his plays is the profound use of surreal elements, which form a beautiful symbiotic relationship with the realistic parts of the play, as if holding some semblance of delicate balance, on the verge of dangerously tipping. There are quite a few analytical aspects to this piece of work, and the one this paper will explore, is the grand debate on its central character.
Aristotle held that tragedy portrayed the downfall of a king or noble, whose fall from grace was the result of a tragic flaw—generally held to be hubris, or an excessive amount of pride.
For Willy, the success of that dream hinges on appearance rather than on substance, on wearing a white collar rather than a blue one. It is this snobbery, combined with a lack of practical knowledge, that leads to his downfall.
Indeed, much of the lasting popularity of Death of a Salesman both in the world of the theater and in the canon of English literature, lies in its treatment of multiple themes.
Too didactic or moralistic for some modern readers, who see the author as heavy-handed, the play nevertheless raises many pertinent questions regarding American culture. Many younger readers have even credited it with preventing them from making the same mistakes committed by the characters.
Chief among these themes is an indictment of the capitalist nature of the American Dream—the belief that through the pioneer virtues of hard work, perseverance, ingenuity, and fortitude, one might find happiness through wealth.
Implicit within this dream, however, is the assumption that money leads to fulfillment, regardless of the type of work that one does in order to attain it. While Willy himself was never successful as a salesman, he remains confident that his son Biff will be able to make it big in business because of his good looks and his past glory as a high school football star.
Willy makes the error of celebrating popularity over know-how, style over substance. The way in which this theme informs the play is also the key to its form, since Willy constantly relives the past through a series of flashbacks.
These scenes present Biff and Happy as they appeared in high school, providing the audience with a glimpse into the happy past that shaped the unhappy present.
Another theme thus emerges: Instead, he took a series of menial jobs and wandered aimlessly, only to return home at the age of thirty-four, unsure of both his identity and his purpose. Yet, when Biff confronts his father in the final scene, he has an epiphany, a sudden burst of knowledge: Biff realizes that success entails working at an enjoyable job, which for him means working on a farm, outdoors, with his shirt off.
The life of business and the city is not for him, and he sees his happiness in day-to-day living rather than in the goals foisted on him by society or by his father.
Happy, meanwhile, lacks the courage of honesty and remains caught in the rat race, still under the impression that wealth and status are the keys to fulfillment.
In a sense, Death of a Salesman ends on an optimistic note, in that Biff discovers a new sense of himself, stripped of illusion, as he finally becomes a man with self-respect—one who paradoxically has found pride through humility.
Willy, however, remains imprisoned by a set of false ideals. Having devoted his life to a belief in the honor of a career as a salesman, he possessed too much snobbery to admit that his own destiny was in a simple career as a carpenter. Instead, he listened to his brother Ben, that figment of his imagination who told him that money was the true path to happiness.
Out of options, Willy decides that suicide is his only exit, since Biff will then collect the insurance settlement and be able to launch a career in business. Yet, although he remains misguided, Willy achieves the stature of a tragic hero.Death of a Salesman by Arthur Miller is a play about a traveling salesman who rethinks life following a demotion.
As the play opens, sixty-year-old Willy Loman, is losing himself in his memories.
As the play opens, sixty-year-old Willy Loman, is losing himself in his memories. Death of a Salesman is a play written by American playwright Arthur Miller. It was the recipient of the Pulitzer Prize for Drama and Tony Award for Best Play.
The play premiered on Broadway in February , running for performances, and has been revived on Broadway four times,  winning three Tony Awards for Best Revival. Detailed analysis of Characters in Arthur Miller's Death of a Salesman.
Learn all about how the characters in Death of a Salesman such as Willy Loman and Linda Loman contribute to . CRITICAL ANALYSIS-DEATH OF A SALESMAN -ARTHUR MILLER Arthur Miller (Oct Feb ) was, in all probability, one of the greatest playwrights of contemporary history He is also one of the greatest critics of contemporary American society, as his .
November 10, English P5 Death of a Salesman Essay Like Father Like Son In Arthur Miller’s play, Death of a Salesman, Miller reveals what happens when a dream, especially the American dream, dies, as seen through the life of Willy Loman, a pathetic, self-deluded salesman.
Death of a Salesman by Arthur Miller. Home / Literature / Death of a Salesman / Willy Loman, an old salesman, returns early from a business trip. sobbing, still under the delusion that her husband was a well-liked salesman, wonders why no one came to his funeral.
Biff continues to see through his family’s lies and wants to be a better.