Death of a Salesman Essays

Death of a Salesman Essays Death of a Salesman Essay Death of a Salesman Essay was therefore quite a radical challenge to make at the time, as unlike nowadays, people did not constantly self-analyse on a national and individual level. The dream is the villain of the play. Willys desperate nocturnal attempt to grow vegetables in the garden further compounds to this idea, as it signifies not only his shame at not being able to provide for his family, but also symbolises the concept that pursuing the dream is a fruitless affair altogether. Consequently, if the American Dream is the villain, Willy Loman cannot be deemed a typical tragic hero because it is the society he lives in that predetermines his downfall from the very beginning. Some critics have even gone as far as saying that Death of a Salesman cannot be deemed a true tragedy because of this, but rather a social drama 8 according to Brenda Murphy. This is because it is questionable as to whether Willy Loman has any control over his destiny at all, as although he is in command of his body and actions, the American Dream has polluted his mind to such an extent that he can barely grasp reality. Indeed, his frequent hallucinations at inappropriate moments emphasise this: Pull myself together! What the hell did I say to him? My God, I was yelling at him! Also, Miller often uses language through out the play to foreshadow Willys death: these arch supports are killing me , tired to death etc. It is almost as if Willy is predicting his own ends; he is precariously ready to drop or give up on life throughout many sections of the play. This self-pity is not an admirable quality and is therefore more befitting to a victim than a tragic hero. Interestingly, another interpretation of Willys character is that he is a tragic villain. This is because he selfishly disregards the dreams of his family in order to fulfil his own. Biff, for example, is not a businessman at heart and is content with the simple necessities of life (Why am I trying to become what I dont want to be? ). However, his father constantly makes him feel guilty about this and frequently refers to him as a lazy bum. Also, in declining Charleys job offer Willy Loman casts his familys needs aside because it does not live up to his ideal job. Although the term villain may be a bit harsh, it is certainly true that the shortcomings of his personality make Willy a harder character to sympathise with than Sophocless Oedipus for example. In this way he could be considered neither a hero nor a victim, because a tragic victim generally needs to arouse high compassion amongst audiences. To conclude, it seems as if the character of Willy Loman is most accurately described as an anti-hero. This is because, although he is the protagonist of the play, he lacks many of the traditional qualities of a true tragic hero; Miller has subverted this stereotype in creating Willy Loman. More importantly however, audiences would certainly not wish t to be like him in any way, although there are undoubtedly aspects of Willys personality that we can relate to. As Joyce Carol Oates suggests: For all his delusions and intellectual limitations Willy Loman is all of us. Or, rather, we are Willy Loman, particularly those of us who are writers, poets, dreamers; the yearning soul way out there in the blue. 1 Nevertheless, Willy does still possess some of the attributes of Aristotles typical tragic hero as previously mentioned, which means he cannot be considered a total victim either. The only certainty is that critics will continue to ponder over Willy Lomans character for years to come. Bibliography: 1. ) Oates, Joyce Carol. Arthur Millers Death of a Salesman, Michigan Quarterly Review, Fall 1998. 2. ) Moss, Leonard. Arthur Miller, 1967. 3. ) Salitt, D. The Character of Willy Loman, 2000. 4. ) Swietek, F. Death of a Salesman: Tragedy? , 2003. 5. ) Carson, Neil. Arthur Miller, New York Grove Press,1982. 6. ) Miller, Arthur. Tragedy and the Common Man, 1949. 7. ) Adams, James Truslow. Epic of America, 1931. 8. ) Murphy, Brenda. The Tradition of Social Drama,1997.