‘Death of a Salesman’ and ‘The Eve of St Agnes’ are two texts that differ in several ways but are essentially similarly themed, as they both centre on an individual that is fundamentally a catalyst to chaos and corruption. Whilst it is clear that Miller has made delusion, fantasy and thus disorder inevitable from just the opening stage directions of the play –which signifies Willy’s false idyllic reminiscences: “A melody is heard, played upon a flute...telling of grass and trees and the horizon” - Keats also gives an impression of danger and disorder being inevitable in the poem from its setting, which is implied to be winter: the season which signifies cold, sickness and thus, death: ‘bitter chill it was!’.
Within Death of a Salesman, there are many themes, motifs and symbolism shown to help readers and audiences alike understand the writing. Arthur Miller implemented these developmental characteristics through showing the theme of success and failure, features of a tragic hero and the germination within characters. Through Millers writing, it is shown that the American Dream does not always end in a happy
Jacopo del Sellaio’s Virgin, Child, and St. John is a characteristically iconographic tempera panel painting of Madonna, the Christ Child, and the infant St. John from the early renaissance, dating to the early 1480s. Sellaio was a Florentine painter under the apprenticeship of Sandro Botticelli, which reflects through his style and symbolism in the painting. In this work, he depicts a classically devotional scene filled with biblical symbolism. Sellaio’s Virgin, Child, and St. John expresses Mary’s loving role as Christ’s mother, the protective power and warmth of her maternal bond, and the significance of the birth of Christ.
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.
Agnes of God is about a young, simple-minded nun Sister Agnes who gets pregnant and her newborn child is found dead in a wastebasket in her room. Sister Agnes claims to not remember the conception or the birth so psychiatrist Dr. Martha Livingston is appointed by the court to determine whether Sister Agnes is fit to stand trial for the murder of the baby. When it comes time to question about who the father is, who is never mentioned in the play, it becomes a mystery of it all as that the nuns lead a sequestered life and so it seems there are no men who could possibly have been the father other than old Father Metineau. Dr. Livingston a lapsed Catholic is determined to get to the bottom of this. She meets her match in the convent's mother superior, Mother Miriam Ruth, who seems determined to protect the fragility of Sister Agnes and the story she says of her immaculate conception. Agnes is not concerned with the solution to the gruesome murder; it merely uses the suspense generated as the backdrop for a much wider debate between science and rationality on one hand, and religious faith on the other.
In the first instance, death is portrayed as a “bear” (2) that reaches out seasonally. This is then followed by a man whom “ comes and takes all the bright coins from his purse / / to buy me…” This ever-changing persona that encapsulates death brings forth a curiosity about death and its presence in the living world. In the second stanza, “measles-pox” (6) is an illness used to portray death’s existence in a distinctive embodiment. This uncertainty creates the illusion of warmth and welcomenesss and is further demonstrated through the reproduction of death as an eminent figure. Further inspection allows the reader to understand death as a swift encounter. The quick imagery brought forth by words such as “snaps” and “shut” provoke a sense of startle in which the audience may dispel any idea of expectedness in death’s coming. This essential idea of apparent arrival transitions to a slower, foreseeable fate where one can imagine the enduring pain experienced “an iceberg between shoulder blades” (line 8). This shift characterizes the constant adaptation in appearance that death acquires. Moreover, the idea of warmth radiating from death’s presence reemerges with the introduction to a “cottage of darkness” (line 10), which to some may bring about a feeling of pleasantry and comfort. It is important to note that line 10 was the sole occurrence of a rhetorical question that the speaker
The tradition of the tragedy, the renowned form of drama based on human suffering that invokes an accompanying catharsis, has principally become a discontinued art. Plays that evoke the sense of tragedy-the creations of Sophocles, Euripides, and William Shakespeare-have not been recreated often, nor recently due to its complex nature. The complexity of the tragedy is due to the plot being the soul of the play, while the character is only secondary. While the soul of the play is the plot, according to Aristotle, the tragic hero is still immensely important because of the need to have a medium of suffering, who tries to reverse his situation once he discovers an important fact, and the sudden downturn in the hero’s fortunes. Arthur Miller’s Death of a Salesman is the modern tragedy of a common man named Willy Loman, who, like Oedipus from Oedipus Rex by Sophocles, exhibits some qualities of a tragic hero. However, the character Willy Loman should not be considered a full-on tragic hero because, he although bears a comparable tragic flaw in his willingness to sacrifice everything to maintain his own personal dignity, he is unlike a true tragic hero, like Oedipus, because he was in full control of his fate where Oedipus was not.
Many dilemmas throughout the recent decades are repercussions of an individual's foibles. Arthur Miller represents this problem in society within the actions of Willy Loman in his modern play Death of a Salesman. In this controversial play, Willy is a despicable hero who imposes his false value system upon his family and himself because of his own rueful nature, which is akin to an everyman. This personality was described by Arthur Miller himself who "Believe[s] that the common man is as apt a subject for a tragedy in its highest sense as kings were" (Tragedy 1).
Arthur Miller’s play, Death of a Salesman is wrought with symbolism from the opening scene. Many symbols illustrate the themes of success and failure. They include the apartment buildings, the rubber hose, Willy’s brother Ben, the tape recorder, and the seeds for the garden. These symbols represent Willy’s attempts to be successful and his impending failure.
Miller, Arthur. “Death of a Salesman.” The Norton Introduction to Literature 10. New York: W. W.
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.
"SparkNotes: Death of a Salesman: important quotations Explained ." SparkNotes . N.p., n.d. Web. 23 Apr. 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.
Miller, Arthur. "Death of a Salesman." Compact Literature. Ed. Laurie Kirszner and Stephen Mandell. 8th ed. Boston: Wadsworth, 2013. 1262-331. Print.
To produce the feelings of either pity or fear, reversal, which is, “the change from one state of affairs to its exact opposite” (Aristotle), and recognition, which is, “the change from ignorance to knowledge, on the part of those who are marked for good fortune or bad” (Aristotle) must both be present.... ... middle of paper ... ... In conclusion, Millers’ work portrays the death of the American dream, while Mamets’ work takes that death and uses it for social criticism of capitalism and the world it has created. Death of a Salesman is modern in that it has a common man as the tragic hero and his downfall is during modern times, it adds irony to Aristotle’s nature of tragedy, it has a clear plot and characters, is subjective, and has a clear distinction between high culture and low culture.
Arthur Miller is recognized as an important and influential playwright, not to mention essayist and novelist. Although he has had plenty of luck in his writing career, his fame is the product of his ingenious ability to control what he wants his readers to picture or feel. As one of his critics states, "Miller writes ingeniously, conveying the message that 'if the proper study of mankind is man, man's inescapable problem is himself (Broussard, 306).'" Miller accurately puts into words what every person thinks, feels, or worries about, but often has trouble expressing. By the use of symbolism, Arthur Miller portrays Willy's (along with the other Lowmans') problems with family life, the society, and himself in Death of a Salesman.