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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.
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. 7th ed. New York: W. W. Norton & Company, 2007. 348-350. Print.
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.
If we seek to justify Shakespeare's King Lear as a tragedy by applying Arthur Miller's theory of tragedy and the tragic hero, then we might find Lear is not a great tragedy, and the character Lear is hardly passable for a tragic hero. However, if we take Aristotle's theory of tragedy to examine this play, it would fit much more neatly and easily. This is not because Aristotle prescribes using nobility for the subject of a tragedy, but, more importantly, because he emphasizes the purpose of tragedy -- to arouse pity and fear in the audience, and thus purge them of such emotions.
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
Baym, Nina. “The Norton Anthology of American Literature.” Rev. 6 ed W.W. Norton & Company: New York, 2003.
Mutual orientation is something of a process of convenience, and it reflects synergies at many different levels. Mutual orientation means that most technology stories are at their core the same story. It means that most technological endeavors have involved trying to outsource or rationalize different tasks.
Tragedy was a very controversial issue in literature until recent years. Recent figures in literature have set a clear definition for tragedy. Author Miller is one of these figures. Plays and novels have distinguished the definition of tragedy. According to the Merriam-Webster Dictionary tragedy is a serious piece of literature typically describing a conflict between the protagonist and a superior force and having a sorrowful or disastrous conclusion that excites pity or terror. Miller’s explains that a tragic hero does not always have to be a monarch or a man of a higher status. A tragic hero can be a common person. A tragedy does not always have to end pessimistically; it could have an optimistic ending. The play Death of a Salesman, by Arthur Miller, is a tragedy because it’s hero, Willy Loman, is a tragic figure that faces a superior source, being the American dream and the struggle for success. Loman also excites pity in the reader because of his defeat and his inability to become a success or teach his children how to make their lives successful.
Miller, Arthur "Tragedy and the Common Man," Literature: An Introduction to Fiction, Poetry, and Drama. 1991: 1831-1833
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.
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...