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major themes and dramatic techniques in the death of a salesman
death of a salesman critical perspective
the plot in the play death of a salesman
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When the realities of life become too harsh, humankind has a natural tendency to choose the most convenient solution to his problem: illusion. They build dreams and fantasies to conceal the more difficult truths of their lives. In his play Death of a Salesman, Arthur Miller portrays the hold of such illusions on individuals and its horrible consequences. Through the overly average, overly typical Loman family, Miller shows how dreams of a better life become, as Choudhuri put it, “fantasies to the point that the difference between illusion and reality, the Loman’s dreams and the forces of society, becomes blurred” (Choudhuri 70). The Loman family created dreams and illusions that were far better than their reality.
In Death of a Salesman, these dreams overwhelm the two characters Willy, the father, and Biff, his favorite son, but the stark reality of life eventually overcomes these illusions and forces them to face the truth. As Willy and Biff are forced to realize that they have been living in a dream world, this disillusionment becomes a prevalent theme of the play, pointing out how illusions can only hide so much for so long before the truth is unveiled. Wilson explains that The Loman family has such exaggerated, grotesque fictions about each other that the truth is bitterly weak in contrast (Wilson 80). Their illusion are so grand and so full of fantasy that when reality is discovered, they are shocked, devastated. In Death of a Salesman, Willy and Biff Loman display the shocks and hardships that are experienced when one is forced to face reality and be disillusioned.
Of these two characters, Willy holds the most illusions, and therefore is the most devastated by the destruction of these fantasies. Miller uses several i...
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.... Harold Bloom. New York: Chelsea House Publishers, 1991. 66-78.
Dusenbury, Winifred L. “Loneliness in Death of a Salesman.” The Theme of Loneliness in Modern American Drama. (1960):30-38. Rpt. in Readings on Arthur Miller.
…….Ed. Thomas Siebold. San Diego: Greenhaven Press, Inc., 1997. 116-24.
Foster, Richard. “Confusion and Tragedy: The Failure of Miller’s Salesman.” Two
……Modern American Tragedies: Reviews and Criticism of Death of a Salesman and
……A Streetcar Named Desire. (1961): 123-130. Rpt. in Readings on Arthur Miller.
……Ed. Thomas Siebold. San Diego: Greenhaven Press, Inc., 1997. 102-9.
Garrison, Craig M. “The System and the American Dream.” Playwrites. 17 April 2002. ………
Hadomi, Leah. “Fantasy and Reality: Dramatic Rhythm in Death of a Salesman.” Modern ……….Drama 31, Vol. 2. (1988):161-2. Rpt. in Blooms Reviews: Arthur Miller’s Death
Hadomi, Leah. Fantasy and Reality: Dramatic Rhythm in Death of a Salesman. Thesis. 1988. N.p.: N.p., N.d. Gale. Web. 6 May 2014.
Miller, Arthur. Death of a Salesman. Literature: An Introduction to Fiction, Poetry, and Drama. Seventh Edition. X.J. Kennedy, and Dana Gioia. New York: Addison Wesley Longman, Inc., 1999. 1636-1707.
In brief, it is apparent that Willy’s own actions led to not only his own demise, but his children’s as well. The salesman tragically misinterpreted the American Dream for only the superficial qualities of beauty, likeability and prosperity. Perhaps if Willy had been more focused on the truth of a person’s character, rather than purely physical aspects, his family’s struggles and his own suicide could have been avoided. On the whole, Arthur Miller’s play is evidence that the search for any dream or goal is not as easy and the end result may seem. The only way to realize the objective without any despair is the opposite of Willy Loman’s methods: genuineness, perseverance and humility.
Murray, Edward. “The Thematic Structure in Death of a Salesman.” Readings on Arthur Miller: Death of a Salesman. San Diego: Greenhaven Press Inc., 1999.
“The American dream is, in part, responsible for a great deal of crime and violence because people feel that the country owes them not only a living but a good living.” Said David Abrahansen. This is true and appropriate in the case of Willy Loman, and his son Biff Loman. Both are eager to obtain their American dream, even though both have completely different views of what that dream should be. The play Death of a Salesman by Arthur Miller shows the typical lives of typical Americans in the 1940’s. Miller’s choice of a salesman to be the main character in this play was not a coincidence, since it represents the typical middle-class working American, some of which have no technical skills what so ever. Miller’s play gives us insides on the daily lives of many Americans, this through the eyes of Willy and Biff Loman, he also shows what kind of personalities, what dreams they have, and their different points of view of what the American dream means.
Like countless characters in a play, Willy struggles to find who he is. Willy’s expectations for his sons and The Woman become too high for him to handle. Under the pressure to succeed in business, the appearance of things is always more important than the reality, including Willy’s death. The internal and external conflicts aid in developing the character Willy Loman in Arthur Miller’s Death of a Salesman.
Miller, Arthur. Death of a Salesman. Literature: An Introduction to Fiction, Poetry, and Drama. Seventh Edition. X.J. Kennedy, and Dana Gioia. New York: Addison Wesley Longman, Inc., 1999
Miller, Arthur “Death of a Salesman” Literature: Craft and Voice. Ed. Nicholas Delbanco and Alan Cheuse. 2nd ed. New York: McGraw Hill, 2012. 205-13. Print.
Although the characters are not of noble birth nor possess a heroic nature nor experience a reversal of fortune, many of the elements in "Death of A Salesman" fulfill the criteria of a classic tragedy. The downfall and crisis points in the play are directly linked to the Loman family's combined harmartias, or personal flaws. The Loman's have unrealistic ideas regarding the meaning of success. To Willy, the foundation of success is not education or hard work, but rather "who you know and the smile on your face." Moreover, Willy ridicules the education Bernard has earned, declaring that his sons, Biff and Hap, will get further ahead in the business world because "the man who makes an appearance in the business world, the man who creates personal interest, is the man who gets ahead. Be liked, and you will never want." Willy idolizes two men: his brother, Ben, who walked out of an African jungle a rich man, and an 84-year-old salesman who could "pick a phone in twenty or thirty cities and be remembered and loved, and finally honored by hundred of mourners at his funeral." To Linda, success is paying off a 25...
Arthur Miller’s Death of a Salesman is a tragic play about an aging and struggling salesman, Willy Loman, and his family’s misguided perception of success. In Willy’s mind, being well-liked is more important than anything else, and is the means to achieving success. He teaches this flawed idea to his sons, Biff and Happy, and is faithfully supported by his wife Linda. Linda sympathizes with Willy’s situation, knowing that his time as an important salesman has passed. Biff and Happy hold their father to impossibly high standards, and he tries his best to live up to them. This causes Willy to deny the painful reality that he has not achieved anything of real value. Willy’s obsession with a false dream results in his losing touch with reality and with himself.
The very first section of the first scene, already defines the basis of Willy’s character for the rest of the play. The stage directions on page 8 identify him as being an exhausted aging man, whose work seems to be wearing him down. “…lets his burden down…” (Miller, 8). Although this makes Willy appear uninteresting, he soon contrasts this characteristic when he shows an optimistic determination towards his own failures. “I’ll start out in the morning. Maybe I’ll feel better in the morning.” (Miller, 9) Another aspect of Willy that makes him more interesting to the audience is his already visible complexity of layers: “I have such thoughts, I have such strange thoughts.” (Miller, 9) This of course leads the audience on to wondering what exactly is taking place in a man’s head to make him say such a thing, evoking a mild fascination in Willy’s character. Another character that is developed almost immediately within the first two pages of the play is Linda. Again the stage directions on page 8 introdu...
Miller, Arthur. "Death of a Salesman." Compact Literature. Ed. Laurie Kirszner and Stephen Mandell. 8th ed. Boston: Wadsworth, 2013. 1262-331. Print.
In the writing world today, there are many definitions for technical terms that are used to describe certain genres of theatre, music and literature. There are romantic novels, musical dramas, and tragic plays. Tragedy is a difficult genre to pinpoint and label. The title ‘tragedy’ can be placed on virtually any piece of writing that involves a death. But it also is up to the individual as to what they believe a tragedy is defined as. The play, Death of a Salesman is not tragedy in the traditional sense of the word. This essay will discuss this idea, define tragedy hero according to historians, and broaden the definition of tragedy to fit a modern society.
Lying is a string that ties together a great part of the plot in Arthur Miller's Death of a Salesman. The Lomans are all greatly self-deceptive, and in their particular fancies and delusions to reality, they fuel and nourish off of each other. Willy convinces himself that he is effective, overall loved, and that his children are bound for significance. Unable to adapt to reality, he totally forsakes it through his vivid dreams and eventually through suicide. Linda and Happy also accept that the Lomans are going to become showbiz royalty. Not at all like alternate parts of his family, has Biff developed to distinguish that he and his relatives reliably bamboozle themselves, and he battles to escape the cycle of lying.
Willy believes that he is much more successful than he is in reality. The first sign of Willy’s illusion about his life occurs rather early in the play. He has the illusion that “[he’s] the New England man. [He’s] vital in New England” (14). In reality any person could have taken Willy’s position at work. This illusion leads to his downfall because as his life begins to fall apart, he lives in the illusion that he has enough money to support his family, so he does not recognize that he has to put the pieces of his reality back together. More towards the end of the play, in an outburst of anger Willy refuses to be called “a dime a dozen” and states “I am Willy Loman, and you are Biff Loman” (132), as if the Loman family is a special figure in society. His unclear view of his place in society leads to his destruction; with only one view of his life, Willy believes that he is living his life to the fullest.