Manipulation of time and space is a reoccurring aspect quite evident in these two works; Arthur Miller’s (1949) Death of a Salesman and Tennessee Williams’ (1944) The Glass Menagerie. In Miller's (1949) masterpiece, the character Willy is struggling with a guilt complex1, which constantly drags him from reality and ongoing situations, into a situation where he is reliving a memory that pains him. Likewise, the character Tom Wingfield from The Glass Menagerie is the narrator of his own regrets, however, his mind is not hijacked from the present as Willy's is. A pattern between these two men can be spotted. They are both reliving past experiences that lead up to a choice they feel guilty for making.
In Death of a Salesman, Willy and his
If I strike oil I’ll send you a check. Meantime forget I’m alive” (p. 96).
Similarly, Tennessee Williams’ (1945) The Glass Menagerie, bears two strikingly comparable characters, pulled from the memory of Tom Wingfield. Tom’s mother, Amanda, is much like Willy in the way that she regrets not being able to keep Tom’s father around, yet she is not suicidal, instead she is overbearing and intrusive on Tom’s personal life constantly pushing him to be more successful, make more money and to find his sister, Laura, a suitor (p. 20).
Like Biff, Tom was jaded by his parent constantly nagging him with never ending talk of dreams and success. Tom tried his best, yet at the end of most days, Amanda would pressure him to do more, often prompting him to indulge in his guilty pleasure of “go[ing] to the movies” (p. 36) which in fact were no such movies, they were exotic dancing bars (p. 36). Ergo, when Tom brought a friend from the warehouse that he rendered a suitable fit for his sister, Tom sat for a chatty dinner, then stepped outside for a smoke. What transpired inside the house while he sat on the fire escape for a smoke can be left freely to
The fathers in the two plays are comparable because they both have conflicts with their sons as a result of living in the past, and they die in the end. Willy, in Death of a Salesman, is never respected for his occupational status, so he places very high expectations on his son, Biff. Willy lives in the memory of past events to such a large extent that he cannot distinguish fantasy from reality, and he passes this trait onto Biff. Biff says, "How the hell did I ever get the idea I was a salesman there? I even believed myself that I'd been a salesman for him!...We've been talking in a dream for fifteen years. I was a shipping clerk" (1760). Willy's high demands of Biff cause Biff to experience the same difficulties of living in the present and the desire to live in a fantasy world. This conflict is only resolved in Biff's mind when he releases himself from his father's dominance and establishes his own identity. At his father's funeral, Biff has compassion for his father and remembers that "there were a lot of nice days;" his father did have good intentions but "had the wrong dreams" (1778). He realizes the futility of trying to live up to his father's unrealistic expectations, and Cory has the same realization in Fences. ...
The family dynamics for Tennessee Williams are evident of a lifestyle of despondency and tension within the household. Tennessee Williams mother Edwina Williams she considered herself a Southern Belle, and his sister Rose Williams was a sickly adolescent whom he shared his imaginative dramatizations with as he transcribed his plays. While Williams was in graduate school at the University of Iowa, Rose was institutionalized for schizophrenia and was underwent a pre-font lobotomy. “The symbolization of lobotomy in the “Glass Menagerie” play signifies the hurt that Tennessee Williams felt by his parents by not collaborating to him that his sister underwent surgery. In the play, Williams substitutes the mental illness of his real sister, with a physical limitation “a limp” which Williams substituted for the mental illness of his real sister, Rose. Even the father’s absence reflects periods when his bullying sales man father, Cornelius Coffin Williams, would go on the road, leaving Tom, Edwina and Rose at one another’s mercies (Charles Matthews, 1996-2016).”
In a flashback Willy has, it is shown that Willy jokes about Charley’s son, Bernard, a “nerd” who helps Biff with his math so he doesn’t fail, by claiming that despite Bernard being smart, he will not get far in life because he is not as “liked: as Biff, who at the time was a football star. After Biff saw his father with is mistress, he began viewing his father more negatively, rejecting all of Willy’s future plans for him, calling him a “phony little fake”. Biff’s rejection of Willy’ future plans for him sends Willy into a downward spiral, making him more and more delusional. Ironically, Willy failed to sell his plans to his own son, when his main profession is selling products to people, as he is a
One strong influence that is evident in Tennessee Williams' plays is his family life, which was "full of tension and despair". His father, a businessman who owned a show warehouse, was known for his gambling and drinking habits. He was often engaged with violent arguments with his wife that frightened Tennessee's sister, Rose. Williams cared for Rose most of her adult life, after his mother, Edwina, allowed her to undergo a frontal lobotomy. This event greatly disturbed him. Many people believe that Williams' first commercial success, The Glass Menagerie, was based on his own family relationships. This play tells the story of Tom, his disabled sister, Laura, and their controlling mother, Amanda, who tries to make a match between Laura and a Gentleman caller. The characters seem to resemble the people in Williams' immediate family.
The Characters of Willy Loman from Death of A Salesman and Torvald Helmer of A Doll's House
Death of a Salesman by Arthur Miller was first presented in 1949 and has been studied and reproduced countless times since. The plot revolves around a salesman named Willy Loman and his family. Willy is 63 years old, and on the decline. His career as a traveling salesman is going badly, and during the play he is let go. Willy’s flashbacks to a better past take up much of the past, and are brought on by the return of Biff, Willy’s favorite son, who comes to visit from out west. Biff is 34 and Willy’s favorite son, but Willy’s high expectations him cause many issues for both of them. The overall tone of the play is sobering as we watch the family (especially Willy) fall apart because of various reasons, including the way they treat each other.
In The Glass Menagerie, by Tennessee Williams, we embark on the task of seeing a family living in the post WWII era. The mother is Amanda, living in her own world and wanting only the best for her son, Tom. Tom, a dreamer, tired of Amanda’s overbearing and constant pursuit of him taking care of the family, wants to pursue his own goals of becoming a poet. He is constantly criticized and bombarded by his mother for being unsuccessful. This drives him to drinking and lying about his whereabouts, and eventually at the end of the play, he ends up leaving. An example of Amanda and Tom’s quarrel I when he quotes, “I haven’t enjoyed one bit of this dinner because of your constant directions on how to eat it. It’s you that makes me rush through meals with your hawklike attention to every bit I take.”(302) Laura, on the other hand, is shy and out of touch with reality because of a slight disability, in which she is comfort...
Tennessee Williams’ play, “The Glass Menagerie”, depicts the life of an odd yet intriguing character: Laura. Because she is affected by a slight disability in her leg, she lacks the confidence as well as the desire to socialize with people outside her family. Refusing to be constrained to reality, she often escapes to her own world, which consists of her records and collection of glass animals. This glass menagerie holds a great deal of significance throughout the play (as the title implies) and is representative of several different aspects of Laura’s personality. Because the glass menagerie symbolizes more than one feature, its imagery can be considered both consistent and fluctuating.
The Glass Menagerie, written by Tennessee Williams in 1944, tells a tale of a young man imprisoned by his family. Following in the footsteps of his father, Tom Wingfield is deeply unhappy and eventually leaves his mother and sister behind so he may pursue his own ambitions. Throughout the play, the reader or audience is shown several reasons why Tom, a brother to Laura and son to Amanda, is unhappy and wishes to leave his family. However, the last scene describes Tom’s breaking point in which he leaves for the last time. Amanda tells Tom to “go to the moon,” because he is a “selfish dreamer.” (7. Amanda and Tom) The reasonings for Tom’s departure are due to his mother’s constant nagging, hatred for
In Tennessee Williams' play, The Glass Menagerie, each member of the Wingfield family has their own fantasy world in which they indulge themselves. Tom escaped temporarily from the fantasy world of Amanda and Laura by hanging out on the fire escape. Suffocating both emotionally and spiritually, Tom eventually sought a more permanent form of escape.
...ated by her brief attendance at Rubicam’s Business College, and her even briefer encounter with Jim, the gentleman caller, cause her to retreat further into her illusory world of glass figurines. In the case of Miller’s Loman family, the tragic element is that they do not realize that the security and contentment they desire are commodities that cannot be purchased. As a result, Willy Loman does not realize that he has placed the highest value on what is no more than a myth and illusion. Willy equates success to being well-liked and personally attractive. His dreams of a better future become powerful fantasies that make it impossible for him to distinguish illusion from reality. (JANARDANAN, " Images of Loss in Tennessee Williams's The Glass Menagerie, Arthur Miller's Death of a Salesman, Marsha Norman's night, Mother, and Paula Vogel's How I Learned to Drive", 7-8)
Tennessee Williams’ play, The Glass Menagerie, depicts the Wingfield family in a naturalistic viewpoint that highlights the importance of a man in the life of a woman. Without a husband in the play, Amanda’s son Tom is rendered as “the man of the house.” Williams attributes the monetary stability of the Wingfields entirely to Tom. Williams stresses the necessity of a working man through Tom so that women and children can be financially stable. As a naturalist, Tennessee Williams illustrates the characters’ reactions to various events and circumstances in accordance with man’s natural instincts of survival. Williams reveals Amanda in this approach, and he portrays naturalistic tendencies in her personality and character, her relationship with her son, and her connection with her hopeless daughter, Laura. Amanda is trying to survive and raise her children without a husband to support her economically.
In The Glass Menagerie by Tennessee Williams, the theme of abandonment is salient to the play. Throughout most of the play, Tom contemplates whether he should stay with his family doing something he hates or leave them and follow his dream. His yen to be happy controls his decision in the end. Through Tom's actions, thoughts, and the negative imagery of his father, Williams proves that abandonment is a viable solution in the escaping challenges and reality, if it is tenable.
Death of a Salesman by Arthur Miller highlights the result of an unfulfilling life through Willy Loman’s pursuit of an unrealistic American Dream and the effects it creates on himself as well as his family. This story has many strong examples which prove the psychoanalytic theory by Sigmund Freud and his concept of the human
Their relationship is strained because Tom reminds Amanda of her husband. He just doesn't quite fit in with the rest of his family. He aspires to travel and see the world. He does not want to just get by; he wants to live and experience life.