Arthur Miller's Death of a Salesman is A Modern Tragedy
In the fourth century B.C., Aristotle set forth his description of dramatic tragedy, and for centuries after, tragedy continued to be defined by his basic observations. It was not until the modern age that playwrights began to deviate somewhat from the basic tenets of Aristotelian tragedy and, in doing so, began to create plays more recognizable to the common people and, thereby, less traditional. Even so, upon examination, the basic plot structure of some modern tragedies actually differs very little from that of the ancient classics. In spite of its modernity, Arthur Miller's great twentieth-century tragedy, Death of a Salesman, can be successfully compared to the Aristotelian description of traditional tragedy.
According to Aristotle, the protagonist, or tragic hero, of a tragedy is a person of great virtue and of high estate, usually a member of a royal family. The tragedy then carries the protagonist from his position of esteem and happiness to one of misery. Although Miller's protagonist, Willy Loman, is not of high estate, he is the head of his household. His wife, Linda, aware though she is of his failings, sees him as "the dearest man in the world" (1.1373). Furthermore, he is a man whose intentions to be the best salesman possible are honorable, although misguided. It must not be overlooked that prior to the twentieth century, almost all literature had as its protagonist someone of high estate. The typical protagonist of the modern age, however, is one whose main conflict is survival, and that conflict is certainly true of Willy Loman. Linda summarizes the plight of the modern tragic hero when she says, "A small man can be just as exhausted a...
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... don't want to be . . . when all I want is out there, waiting for me the minute I say I know who I am" (2.1421)?
Tragedy did not end with the modern age. Instead, it has found new form and is perhaps more recognizable with the common man as its protagonist. Traditional tragedy is intended to create in the audience pity and terror for the tragic hero's condition. Most of us see enough of ourselves in Willy that we sympathize with him, even when we disagree with him. Furthermore, it is difficult for late-twentieth-century Americans not to feel terror when considering how the forces that destroyed Willy might destroy us as well. Perhaps that fear is, indeed, the very heart of the tragedy Arthur Miller created.
Works Cited
Miller, Arthur. Death of a Salesman, The Riverside Anthology of Literature. Ed. Douglas Hunt. 2nd ed. Boston: Houghton, 1991. 1345-1426.
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In Arthur Miller’s essay about “Tragedy and the Common Man,” he argues that the common man is as appropriate a subject for tragedy as the very highly placed kings and noble men. Mankind keeps tragedy above all forms because they are given the same mental abilities as the nobles. In “Death of a Salesman”, Willy Loman is a common man and a middle class worker, enough saving to provide food for his family. So if the tragic hero can be a common man, does Willy fit in that category? Even though he is a common man he fails to live up to the standards of being a tragic hero because he never accepts nor admits to his own errors. He, therefore, loses his dignity. One of his biggest errors is his failure of be a good father.
Winterbourne is not together with Daisy all the time. This is why his reliability as a source can be discussed. He is confused by her and t...
Winterbourne is the protagonist and 'filters' through his impressions of the heroine Daisy Miller so that we never see Daisy except through the qualifying prose of Winterbourne himself. Thus by the end of the tale, we feel we have not met Daisy at all. We have only caught glimpses of this transient 'flower' almost in spite of the suffocating prevarications of Winterbourne's 'frozen' eye! We feel thwarted by the elusiveness of this heroine!
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Arthur Miller states in his essay, "Tragedy and the Common Man," " . . . we are often held to be below tragedy--or tragedy below us . . . (tragedy is) fit only for the highly placed . . . and where this admission is not made in so many words it is most often implied." However, Miller believes " . . . the common man is as apt a subject for tragedy in its highest sense as kings were" (1021). It is this belief that causes Miller to use a common man, Willie Loman, as the subject of his tragedy, Death of a Salesman. Miller redefines the tragic hero to fit a more modern age, and the product of this redefinition is Willie.
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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).
They argue that the character Willy Loman fits the mold of a tragic hero, a misguided man unaware of his flaws who comes to discover them through his journey but ends up dying in a tragic way in the end in grand release of tension. However, Willy Loman doesn’t reach the standard of a high status that is required to be a tragic hero. He is simply a typical man, a simple salesman. Willy is not even great at being a salesman or even a husband and father, the only roles he plays in his simple life. He never comes to discover his many flaws, he is deluded until the very end. The only consistency Willy has with a tragic hero is the tragic end. But the audience does not experience a catharsis of emotions, the audience can anticipate the miserable way Willy goes out but when it happens there is still a lingering air of unresolved misery and , especially for his
Daisy did not help her case any of being the typical American flirt when she goes to Italy and meets many different men, including Giovanelli. If the Europeans have not met many Americans and the usually the ones that can afford to travel are rich, they can only assume what America is by what they have seen.
“The present and the past coexist, but the past shouldn't be in flashback” -Alain Resnais. The play Death of a Salesman by Arthur Miller follows the life of a man named Willy Loman, and his family life with his two sons; Biff and Happy Loman, and wife, Linda Loman. Throughout the play, Willy has delusional episodes of past events in life, which he believes he is reliving, and these flashbacks are providing him an escape from dealing with the obstacles he is facing in life. The reader discovers that Willy is having an affair with a mistress titled The Woman, and he retreats to memories of their time together for an ego boost, though in reality he is arguing with his sons. Willy has an encounter with his brother Ben at the same time that he is playing cards with his neighbour Charlie, and because Willy’s mind is so far gone into the memory, Charlie leaves. During this flashback Willy sees his life compared to his successful brother, but he will not accept his lack of skill at being a salesman. His final flashback is a fake encounter he believes he has with his brother, and this progresses to Willy’s final act of suicide. Willy’s flashbacks are evidence that he is delusional because he cannot differentiate between a past event and reality.
A modern tragedy of today and a tragedy of ancient Greece are two very different concepts, but ironically, both are linked by many similarities. In “Poetics”, Aristotle defines and outlines tragedy for theatre in a way that displays his genius, but raises questions and creates controversy. Aristotle’s famous definition of tragedy states: