Eugene August wrote how ‘Death of a Salesman’ is a profoundly male tragedy, one in which its protagonist is destroyed by a debilitating concept of masculinity . Willy Loman embodies deluded values, hopes and aspirations that originate from the American dream and infiltrates them into every aspect of his life. His highly inflated dreams of success and prosperity contrast with his emotional instability, which tragically lead to mortality and mutability. ‘A Streetcar Named Desire’ on the other hand shows how imperilled masculinity is defended. This essay will cover the masculine attitudes towards women, the values held by men and how this is reflected in their primitive behaviour.
World War II saw success in the female workforce as most men were centred in active military service. The male expectation of women should have risen as women successfully took over from male professional occupations such as building aircrafts, ships and weaponry. However female self-sufficiency meant that stereotypical masculine providers were no longer needed therefore working women posed as a threat to masculinity. Despite differences in their values towards life, the leading male figures of both plays appear to have the same view towards women, which is expressed through a lack of respect. On the night of the Poker game Stanley refuses to get up when Blanche and Stella enter the room because they have intruded in their masculine game. Poker is a game of risky, high stakes that rely on luck and chance where to succeed you cannot emotion, mental and physical weakness. Kernan describes how Stanley hates Blanche and has to prove his dominance by raping her. However it seems a little severe to say that Stanley hates Blanche as the chorological progressi...
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...lishly believe in the wrong things. Willy’s fall could have been avoided by admitting that he is a poor salesman. Although it could be said that Willy was already broken when the play started. Stanley on the other hand just pursued a position to his advantage that physically did not lose him anything.
Despite the differing views of masculinity, both shape their behaviour in order to survive. Willy is destroyed by his debilitating concept of masculinity because his fall is influenced by his notion of male success as reflected in the profession in which he lives and works. He is a tragic victim living in a disposable culture that would inevitably leave him behind. Stanley sees his imperilled masculinity defended by raping Blanche and boosting his own position. Even though he does not fall like Willy, tragically Stanley’s life will be tainted by his selfish attitude.
According to Frye's definition, tragic heroes bring suffering upon themselves. Willy Loman is delusional and has a skewed view on the world he lives in. Willy asserts that he is young, popular, and respected among his family and workmates. Flashbacks of past memories, which interrupt the present day flow of time, prove that Willy is not everything he used to be in his younger years. This constant misconception of time is Willy Loman's main flaw, and he is the main victim in this suffering. Willy's misunderstanding of the world around him is shown in key scenes, such as his conversation with his brother Ben in the garden near the end of the play (Miller 99). The death of Willy Loman is also a consequence of his flaw: Willy's disorganized state of mind causes him to jump into a car and crash.
During the time period Tennessee Williams, author of the play A Streetcar Named Desire, lived in, men were typically portrayed as leaders of the household. Through Williams' usage of dialogue, specific descriptions of each characters, as well as sound, he illustrates to readers of today's society how differently a man and woman coexisted in the mid-1900s, compared to today. Through the eyes of a topical/historical theorist, who stresses the relationships between the story and the time period it takes place, the distinction between today's society and that of five decades past, can be observed with depth and precision.
Throughout the play, Willy can be seen as a failure. When he looks back on all his past decisions, he can only blame himself for his failures as a father, provider, and as a salesman (Abbotson 43). Slowly, Willy unintentionally reveals to us his moral limitations that frustrates him which hold him back from achieving the good father figure and a successful business man, showing us a sense of failure (Moss 46). For instance, even though Willy wants so badly to be successful, he wants to bring back the love and respect that he has lost from his family, showing us that in the process of wanting to be successful he failed to keep his family in mind (Centola On-line). This can be shown when Willy is talking to Ben and he says, “He’ll call you a coward…and a damned fool” (Miller 100-101). Willy responds in a frightful manner because he doesn’t want his family, es...
In Gail Bederman’s Manliness and Civilization, she aims to describe the concepts of manliness and masculinity at the turn of the century. Bederman explains that the concept of what it means to be a man is ever changing as a result of the ideology of the time as well as the material actions of the men. During the Progressive Era, many forces were at work that put pressure on the supremacy of white, middle class men. Some of these forces included the growing move toward empowered women, the unionization of the working class, and the move from self-employment to big, corporate business. She delves into the way that both racism and sexism were used to build up the concept of masculinity and the turn of the century discourse on civilization.
The ideology of male dominance has existed since the beginning of mankind. In the play A Streetcar Named Desire, by Tennessee Williams, it is especially apparent that Stanley, who is a working class man, feels the need to assert and reassert this principle of power constantly. Williams makes clear, through the character of Stanley, that the yearning for others’ recognition of their power and capability is the motive behind men’s masculine inclinations.
Many different depictions of gender roles exist in all times throughout the history of American culture and society. Some are well received and some are not. When pitted against each other for all intents and purposes of opposition, the portrayal of the aspects and common traits of masculinity and femininity are separated in a normal manner. However, when one gender expects the other to do its part and they are not satisfied with the results and demand more, things can shift from normal to extreme fairly quickly. This demand is more commonly attributed by the men within literary works. Examples of this can be seen in Tennessee Williams' “A Streetcar Named Desire”, where Stella is constantly being pushed around and being abused by her drunken husband Stanley, and also in Charlotte Perkins Gilman's “The Yellow Wallpaper”, where the female narrator is claimed unfit by her husband as she suffers from a sort of depression, and is generally looked down on for other reasons.
Willy Loman’s character is capable of making errors. He believes he is a very successful salesman and well liked. He also thinks that the company likes what he is doing. He once said, “I’m the New England man. I am vital in New England” (Miller pg. 32) Because of his false belief about his success Howard fired him. After he got fired charley offered him a job, but he refuses to accept, because he is too proud and jealous to work for Charley. His actions were wrong because at no time was a successful salesman. He is not a powerful character. Willy lives in his fantasies where he is the man. Who goes out to another place and comes out rich, he is love by everyone and admired by his family. In real life, he is lazy and does not live up to his own ideals. “As Aristotle explains, a tragic hero must be one of noble character and must fall from power and happiness.”(Www.ccd.rightchoice.org/lit115/poetics.html) but Willy neither has a noble characteristic nor does he fall from power because he does not have a position of power.
As women's studies programs have proliferated throughout American universities, feminist "re-readings" of certain classic authors have provided us with the most nonsensical interpretations of these authors' texts. A case in point is that of Kathleen Margaret Lant's interpretation of Tennessee Williams' A Streetcar Named Desire in her essay entitled "A Streetcar Named Misogyny." Throughout the essay, she continually misreads Williams' intention, which of course causes her to misunderstand the play itself. Claiming that the play "has proved vexing to audiences, directors, actors, readers, and critics" (Lant 227), she fails to see that it is she herself who finds the play vexing, because it does not fit nicely into the warped feminist structure she would try to impose upon it.
In scene three Stanley is having his poker party (pg. 57). At this point he is very drunk. Blanche distracting Stanley by listening to the radio instigates him to grab it off the table and toss it out the window. Stella in a state of panic tells everyone to go home which angers Stanley so he chases after her and hits her. This type of behavior is not normal of any human being involved in any relationship. Stanley repeatedly gets what he wants by use of any means possible. In addition the person whoever threatens the existence of his poker game receives a beating, in this case his wife. This scene demonstrates Stanley’s viscous animal like traits with such violence. If what happened here was repeated in today’s society he would find himself in a jail cell with a pending divorce.
Willy is a multi-faceted character which Miller has portrayed a deep problem with sociological and psychological causes and done so with disturbing reality. In another time or another place Willy might have been successful and kept his Sanity, but as he grew up, society's values changed and he was left out in the cold. His foolish pride, bad judgment and his disloyalty are also at fault for his tragic end and the fact that he did not die the death of a salesman.
...ices, such an attempt to elicit sympathy for this monster falls short” (Bell 2). Stanley is looked at as the monster of the play which is how he should be viewed. Luck was not on Blanches side through her life which made her make the mistakes she made. Even though her past was not clean, Stanley did not purge her of this. He tried to show her the reality of the world, but through his brutal treatment, only made her sensibility worse. Stanley is a primitive ape-like man, driven only by instinct, who views women as objects and has no respect for others. He is a wife batter and a rapist who is responsible for the crumbling sanity of Blanche who is “the last victim of the Old South, one who inherits the trappings of that grand society but pays the final price for the inability to adapt to a modern world that seeks to wipe grace and gentility out of existence” (Bell 2).
Willy is blind to the reality around him. This blindness, is his tragic flaw like that of Oedipus Rex. Willy is a dreamer who is unable to face the realities of a modern day society. Willy builds his whole life around the philosophy that if a person is well likedand good looking, he will be successful. Willy says to Biff, "I thank Almighty God that you are both are built like Adonises." Later, Willy makes the comment, "Be liked and you will never want." His need to be well liked is so strong that his choices throughout his life, and his blindness to the reality around him, prevents Willy from realizing his dreams and values were flawed.
In "Death of a Salesman", Willy Loman believes the ticket to success is likeability. He tells his sons, "The man who makes an appearance in the business world, the man who creates personal interest, is the man who gets ahead." In "The Glass Menagerie", Amanda Wingfield has the same belief. Girls are meant to be attractive and they are meant to be attractive in order to entertain gentlemen callers. As she tells Laura, "All pretty girls are a trap, a pretty trap, and men expect them to be" (1048). It is this very belief that both Amanda and Willy try to ingrain in their children and it is this emphasis on likeability that makes the characters of Amanda Wingfield and Willy Loman so unlikable.
Also, the repetitive comparison of him to an animal or ape is the perfect image not the id as it is the instinctive part of your psyche. The way this passage leaves the reader is very powerful saying that “maybe he’ll strike you” is a good example of Stanley’s aggressive nature, and when Blanche says “or maybe grunt and kiss you” is a very good example of his sexual nature.
Repetition of the poker game from the beginning of the play is used as a device to suggest a similar tense atmosphere and the intensifying build up to a very dismal event for Blanche. In both games Stanley is winning which suggests his dominance and control, which symbolises the rape scene and how helpless Blanche was. The symbolism of Stanley’s aggressive poker playing reflects his real life aggression and violent habits towards women. The poker game also symbolizes the luck and gamble of Blanche’s life, as well the dishonesty and deception of the others around her. ‘You know what luck is? Luck is believing you're lucky!...I was lucky.’ suggests Stanley has got away with his vulgar behaviour and Blanche’s life is deteriorating rapidly. The poker game also represents the change in Blanche's behaviour. In contrast to the first poker game, in which Blanche is eager to convey the best of her physical appearance and make the men notice her, ‘how do i look...i feel so hot and frazzled. Wait till i powder before i open the door. Do i look done in?’ shows her eagerness to impress the ‘gentleman’ and her insecurity and obsession about her appearance which