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Death of a salesman critical essay
Death of a salesman critical essay
Analysis of the death of a salesman
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Death of a Salesman: Tragic but Not a Tragedy
Though a more modern version of tragedy in its’ classical sense, Death of a Salesman in many ways is very much like an ancient Greek play. In his ‘Poetics’ Aristotle tries to set out the common ideas throughout tragedy, attempting to demystify the necessary elements for such plays. One of his main ideas was that of the ‘Three Unities’ - that of Space, that of Time and that of Action. He stated that all the action of a tragedy must occur in the place, which was often the front of a palace, which allowed the poet to have many characters coming and going, and allowed random meetings to occur easily, rather than having to ‘explain’ the reason why any meeting should occur. It was, however, possible for the poet to bring in events occurring in other places through the use of messengers, who could talk about the events without the audience seeing them.
All the action would have to unfold in one day, and must be played out in ‘real time’ - the time would pass as fast for the characters in the play as for the actors and the audience watching. This prevented the use of act and scene breaks, as time could not jump forward, it had to pass normally. Again references to the past often came in the form of speech from characters whom often had not been seen for a very long time, such as the shepherd in Oedipus Rex who explains how he had come by Oedipus as a baby whilst attending his flock.
The entire play had to revolve around a single plot, and subplots, such as you see in many of Shakespeare’s comedies, were not allowed. Aristotle reasoned that if there were other plots interfering with and infringing upon the main plot we could not concentrate entirely on Antigony’s plight, ...
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...ccept his refusal to act rationally. An audience can accept that ‘true’ tragic heroes are often irrational, and driven by very different feelings from those of normal human beings, but in the end, Willy Loman does not evoke tragic emotion because he is, simply, a dime a dozen.
Works Cited and Consulted
Aristotle. Poetics. New York: Dover Publications, Inc., 1997.
Baym, Franklin, Gottesman, Holland, et al., eds. The Norton Anthology of American Literature. 4th ed. New York: Norton, 1994.
Costello, Donald P. “Arthur Miller’s Circles of Responsibility: A View From a Bridge and Beyond.” Modern Drama. 36 (1993): 443-453
Florio, Thomas A., ed. “Miller’s Tales.” The New Yorker. 70 (1994): 35-36.
Martin, Robert A., ed. Arthur Miller. Englewood Cliffs, NJ: Prentice-Hall, 1982.
Miller, Arthur. Death of a Salesman. New York: Viking, 1965.
Baym, Nina, and Robert S. Levine. The Norton Anthology of American Literature. 7th ed. New York: W. W. Norton & Company, 2007. 348-350. Print.
Northrop Frye states in his book Anatomy of Criticism that the tragic hero is “on top of the wheel of fortune, halfway between human society on the ground and the something greater in the sky”. The book also declares that tragic heroes are “inevitable conductors of the power around them”, and conductors may be victims as well as instruments of destruction (website). Willy Loman, the epitome of a tragic hero, brings suffering upon not only himself, but others, including his wife and sons. Willy establishes Northrop Frye's definition of a tragic hero through the suffering of both himself and his friends and family, and this suffering contributes to the great tragic vision of the play as a whole.
Baym, Nina, and Robert S. Levine. The Norton Anthology of American Literature. New York London: W. W. Norton & Company, 2012. Print.
Norton Anthology of American Literature. Ed. Nina Baym. 8th ed. Vol A. New York: W.
Baym, Nina. “The Norton Anthology of American Literature.” Rev. 6 ed W.W. Norton & Company: New York, 2003.
of the book. New York: Norton, 1994. Costello, Donald P. “Arthur Miller’s Circles of Responsibility: A View From a Bridge and Beyond.” Modern Drama. 36 (1993): 443-453.
Myers, H. A. (1949). Aristotle's study of tragedy. Educational Theatre Journal, 1(2), 115. Retrieved from http://search.proquest.com/docview/1290192594?accountid=12085
“I have a dream that my four children will one day live in a nation where they will not be judged by the color of their skin, but by the content of their character,” Martin Luther King Jr. said this in his “I Have A Dream Speech” in 1963. Martin Luther King Jr. said this fifty years ago and today in the twenty first century, African Americans are still fighting for equality. Race relations in the United States is a problem that is constantly arising in communities all over. If nothing is done about the relationships, mainly between African Americans and white people, and Muslims and white people, then nothing will change. The pervasive belief
Miller, Author. “Tragedy and the Common Man.” Literature: Reading Fiction, Poetry, and Drama. Robert DiYanni. 6th Ed. New York, 2007. 2216-2218. Print.
In Poetics, Aristotle defines plot as “the arrangement of the incidents” (Aristotle 12). He indicates that there are six elements in every tragic play, which are plot, character, thought, diction, melody and spectacle, among these plot is placed in the foremost positi...
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Another of Aristotle’s elements of drama were the three Units: The unity of time, which puts a limit on the action in the story; unity of place, which limits the taking place of events to around one general; and the unity of action which limits events to being related as cause and effect. The setting for Oedipus Rex takes place in the city and palace and does not leave that location, however if anything happens elsewhere the messenger relays the information. The time frame for this story also only appears to be about roughly a day or so, which was as prescribed in the unity of time. As for unity of action, the whole tragedy of Oedipus sprouts from the news that his supposed father, Polybus, has just died; the rest is all cause and effect action.
According to Aristotle, the importance of tragedy as a genre is to represent action. Thus unity of action purportedly has the strongest implications for the effectiveness of the work itself. Aristotle posits “a story, since it is the representation of action, should concern an action that is single and entire, with its several incidents so structured that the displacement or removal of any one of them would disturb and dislocate the whole.” (Aristotle 27) and deems this claim imperative. A good plot, and thereby an effective tragedy, does not include events, which are not connected to each other or specifically the main plot. In theory, these unconnected events are distracting from the main action and dissipate the tragic effect. With Aristotle’s definition, no sub-plot should exist in tragedy. For all events to be “necessary or [have] probable connection with each other.” (Aristotle 27) none should exist not directly related to the main action. Again, unity allows for the tragic effect to be concentrated, intending to allow for increased feelings of pity and
Miller, Arthur "Tragedy and the Common Man," Literature: An Introduction to Fiction, Poetry, and Drama. 1991: 1831-1833
In Aristotle’s book, Poetics, he defines tragedy as, “an imitation of an action that is serious, complete, and possessing magnitude; in embellished language, each kind of which is used separately in the different parts; in the mode of action and not narrated; and effecting through pity and fear” (Aristotle 1149). Tragedy creates a cause and effect chain of actions that clearly gives the audience ideas of possible events. The six parts to Aristotle’s elements of tragedy are: Plot, character, language, thought, spectacle, and melody. According to Aristotle, the most important element is the plot. Aristotle writes in Poetics that, “It is not for the purpose of presenting their characters that the agents engage in action, but rather it is for the sake of their actions that they take on the characters they have” (Aristotle 1150). Plots should have a beginning, middle, and end that have a unity of actions throughout the play making it complete. In addition, the plot should be complex making it an effective tragedy. The second most important element is character. Characters...