Death of a SalesmanEssay Preview: Death of a SalesmanReport this essayDeath of a Salesman is a 1949 play by Arthur Miller, his most famous and commonly revived work. Viewed by many as a caustic attack on the American Dream of success through economic enterprise, it made both Arthur Miller and lead character Willy Loman household names. It was greeted with enthusiastic reviews, received the Pulitzer Prize for Drama in 1949, the 1949 Tony Award for Best Play, and turned Miller into a national sensation as a playwright.
The play centers on Willy Loman, an aging salesman who is beginning to lose his grip on reality. Willy places great emphasis on his supposed native charm and ability to make friends; stating that once he was known throughout New England, driving long hours but making unparalleled sales (something true only because of his philandering with secretaries), his sons Biff and Happy were the pride and joy of the neighborhood, and his wife Linda went smiling throughout the day. Unfortunately, time has passed, and now his life seems to be slipping out of control.
Willy has worked hard his entire life and ought to be retiring by now, living a life of luxury and closing deals with contractors on the phone–especially since increasing episodes of depersonalization and flashback are impairing his ability to drive. Instead, all of Willys aspirations seem to have failed: he is fired from his job–which barely paid enough anyway–by a man young enough to be his son and who, in fact, Willy himself named. Willy is now forced to rely on loans from his only real friend (and the word is used loosely at that), Charley, to make ends meet. None of Willys old friends or previous customers remember him. Biff, his 34-year-old son, has been unable to find himself as a result of his inability to settle down (caused by Willy drumming into him the need to make it big within two weeks), and Happy, the younger son, lies shamelessly to make it look like he is a perfect Loman scion. In contrast, Charley (who, Willy tells his boys conspiratorially, is not well-liked), is now a successful businessman, and his son, Bernard, a former bespectacled bookworm, is now a brilliant lawyer. We are told how Willy had at least one affair while out on business trips, one particularly that was witnessed by Biff (which broke his faith in Willy). Finally, Willy is haunted by memories of his now-dead older brother, Ben, who at an early age left for Africa: “And when I walked out, I was rich!” With all this in mind, it is perhaps not surprising that Willy is having suicidal thoughts, though Biff and Happy–both home for the first time in years–initially have no idea.
The plays structure resembles a stream of consciousness account: Willy drifts between his living room, downstage, to the apron and flashbacks of an idyllicized past, and also to fantasized conversations with Ben. The use of these different states allows Miller to contrast Willys dreams and the reality of his life in extraordinary detail, and also allows him to contrast the characters themselves, showing them in both sympathetic and villainous light, gradually unfolding the story, and refusing to allow the audience a permanent judgment about anyone. When we are in the present the characters abide by the rules of the set, entering only through the stage door to the left, however when we visit Willys past these rules are removed, with characters openly moving through walls. Whereas the term flashback as a form of cinematography for these scenes is often heard, Miller himself rather speaks of mobile concurrencies. In fact, flashbacks would show an objective image of the past. Millers mobile concurrencies, however, rather show highly subjective memories. Furthermore, Willy destroys the boundaries between past and present, and the two start to exist in parallel.
The depths of the problem are gradually revealed. Willys emphasis on being well-liked stems from a belief that it will bring him to perfect success–not a harmful dream in itself, except that he clings to this idea as if it is a life-preserver, refusing to give it up. His boys are not only well-liked but quite handsome, and as far as Willy is concerned, thats all anyone needs. He pitches this idea to his sons so effectively that they believe opportunity will fall into their laps. (In this way, Biff and Happy can be considered forerunners to the culture of entitlement.) Of course, real life is not so generous, and neither are able to hold much in the way of respectable employment. Willy witnesses his and his sons failures and clings ever more tightly to his master plan, now placing his hopes vicariously on them: he may not succeed, but they might. His tragic flaw is in failing to question whether the dream is valid. Happy never does either; he has embraced his fathers attitude, and
Hence the tragic nature of these little men of the past, especially in the case of Happy.