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Analysis of Arthur Miller’s Death of a Salesman

By NASRULLAH MAMBROL on July 30, 2020 • ( 0 )

Arthur Miller’s Death of a Salesman is, perhaps, to this time, the most mature example of a myth of Contemporary life. The chief value of this drama is its attempt to reveal those ultimate meanings which are resident in modern experience. Perhaps the most significant comment on this play is not its literary achievement, as such, but is, rather, the impact which it has had on spectators, both in America and abroad. The influence of this drama, first performed in 1949, continues to grow in World Theatre. For it articulates, in language which can be appreciated by popular audiences, certain new dimensions of the human dilemma.

—Esther Merle Jackson, “ Death of a Salesman : Tragic Myth in the Modern Theatre”

It can be argued that the Great American Novel—that always elusive imaginative summation of the American experience—became the Great American Drama in Arthur Miller’s Death of a Salesman . Along with Eugene O’Neill’s Long Day’s Journey into Night , Miller’s masterpiece forms the defining myth of the American family and the American dream. F. Scott Fitzgerald’s The Great Gatsby is the play’s only rival in American literature in expressing the tragic side of the American myth of success and the ill-fated American dreamers. A landmark and cornerstone 20th-century drama, Death of a Salesman is crucial in the history of American theater in presenting on stage an archetypal family drama that is simultaneously intimate and representative, social and psychological, realistic and expressionistic. Critic Lois Gordon has called it “the major American drama of the 1940s” that “remains unequalled in its brilliant and original fusion of realistic and poetic techniques, its richness of visual and verbal texture, and its wide range of emotional impact.” Miller’s play, perhaps more than any other, established American drama as the decisive arena for addressing the key questions of American identity and social and moral values, while pioneering methods of expression that liberated American theater. The drama about the life and death of salesman Willy Loman is both thoroughly local in capturing a particular time and place and universal, one of the most popular and adapted American plays worldwide. Willy Loman has become the contemporary Everyman, prompting widespread identification and sympathy. By centering his tragedy on a lower middle-class protagonist—insisting, as he argued in “Tragedy and the Common Man,” that “the common man is as apt a subject for tragedy in its highest sense as kings were”—Miller completed the democratization of drama that had begun in the 19th century while setting the terms for a key debate over dramatic genres that has persisted since Death of a Salesman opened in 1949.

Miller’s subjects, themes, and dramatic mission reflect his life experiences, informed by the Great Depression, which he regarded as a “moral catastrophe,” rivaled, in his view, only by the Civil War in its profound impact on American life. Miller was born in 1915, in New York City. His father, who had emigrated from Austria at the age of six, was a successful coat manufacturer, prosperous enough to afford a chauffeur and a large apartment over-looking Central Park. For Miller’s family, an embodiment of the American dream that hard work and drive are rewarded, the stock market crash of 1929 changed everything. The business was lost, and the family was forced to move to considerably reduced circumstances in the Flatbush section of Brooklyn in a small frame house that served as the model for the Lomans’ residence. Miller’s father never fully recovered from his business failure, and his mother was often depressed and embittered by the family’s poverty, though both continued to live in hope of an economic recovery to come. For Miller the depression exposed the hollowness and fragility of the American dream of material success and the social injustice inherent in an economic system that created so many blameless casualties. The paradoxes of American success—its stimulation of both dreams and guilt when lost or unrealized, as well as the conflict it created between self-interest and social responsibility—would become dominant themes in Miller’s work. As a high school student Miller was more interested in sports than studies. “Until the age of seventeen I can safely say that I never read a book weightier than Tom Swift , and Rover Boys, ” Miller recalled, “and only verged on literature with some of Dickens. . . . I passed through the public school system unscathed.” After graduating from high school in 1932 Miller went to work in an auto parts warehouse in Manhattan. It was during his subway commute to and from his job that Miller began reading, discovering both the power of serious literature to change the way one sees the world and his vocation: “A book that changed my life was The Brothers Karamazov which I picked up, I don’t know how or why, and all at once believed I was born to be a writer.”

In 1934 Miller was accepted as a journalism student at the University of Michigan. There he found a campus engaged by the social issues of the day: “The place was full of speeches, meetings and leaflets. It was jumping with Issues. . . . It was, in short, the testing ground for all my prejudices, my beliefs and my ignorance, and it helped to lay out the boundaries of my life.” At Michigan Miller wrote his first play, despite having seen only two plays years before, to compete for prize money he needed for tuition. Failing in his first attempt he would eventually twice win the Avery Hopwood Award. Winning “made me confident I could go ahead from there. It left me with the belief that the ability to write plays is born into one, and that it is a kind of sport of the mind.” Miller became convinced that “with the exception of a doctor saving a life, writing a worthy play was the most important thing a human could do.” He would embrace the role of the playwright as social conscience and reformer who could help change America, by, as he put it “grabbing people and shaking them by the back of the neck.” Two years after graduating in 1938, having moved back to Brooklyn and married his college sweetheart, Miller had completed six plays, all but one of them rejected by producers. The Man Who Had All the Luck, a play examining the ambiguities of success and the money ethic, managed a run of only four performances on Broadway in 1944. Miller went to work at the Brooklyn Navy Yard, tried his hand at radio scripts, and attempted one more play. “I laid myself a wager,” he wrote in his autobiography. “I would hold back this play until I was as sure as I could be that every page was integral to the whole and would work; then, if my judgment of it proved wrong, I would leave the theater behind and write in other forms.” The play was All My Sons, about a successful manufacturer who sells defective aircraft parts and is made to face the consequences of his crime and his responsibilities. It is Miller’s version of a Henrik Ibsen problem play, linking a family drama to wider social issues. Named one of the top-10 plays of 1947, All My Sons won the Tony Award and the New York Drama Critics’ Circle Award over Eugene O’Neill’s The Iceman Cometh. The play’s success allowed Miller to buy property in rural Connecticut where he built a small studio and began work on Death of a Salesman .

This play, subtitled “Certain Private Conversations in Two Acts and a Requiem,” about the last 24 hours of an aging and failing traveling salesman misguided by the American dream, began, as the playwright recounts in his introduction to his Collected Plays , with an initial image

of an enormous face the height of the proscenium arch which would appear and then open up, and we would see the inside of a man’s head. In fact, The Inside of His Head was the first title. . . . The image was in direct opposition to the method of All My Sons —a method one might call linear or eventual in that one fact or incident creates the necessity for the next. The Salesman image was from the beginning absorbed with the concept that nothing in life comes “next” but that everything exists together and at the same time within us; that there is no past to be “brought forward” in a human being, but that he is his past at every moment. . . . I wished to create a form which, in itself as a form, would literally be the process of Willy Loman’s way of mind.

The play took shape by staging the past in the present, not through flashbacks of Willy’s life but by what the playwright called “mobile concurrency of past and present.” Miller recalled beginning

with only one firm piece of knowledge and this was that Loman was to destroy himself. How it would wander before it got to that point I did not know and resolved not to care. I was convinced only that if I could make him remember enough he would kill himself, and the structure of the play was determined by what was needed to draw up his memories like a mass of tangled roots without ends or beginning.

At once realistic in its documentation of American family life and expressionistic in its embodiment of consciousness on stage, Death of a Salesman opens with the 63-year-old Willy Loman’s return to his Brooklyn home, revealing to his worried wife, Linda, that he kept losing control of his car on a selling trip to Boston. Increasingly at the mercy of his memories Willy, in Miller’s analysis, “is literally at that terrible moment when the voice of the past is no longer distant but quite as loud as the voice of the present.” Reflecting its protagonist, “The way of telling the tale . . . is as mad as Willy and as abrupt and as suddenly lyrical.” The family’s present—Willy’s increasing mental instability, his failure to earn the commissions he needs to survive, and his disappointment that his sons, Biff and Happy, have failed to live up to expectations—intersects with scenes from the past in which both their dreams and the basis for their disillusionment are exposed. In the present Biff, the onetime star high school athlete with seeming unlimited prospects in his doting father’s estimation, is 34, having returned home from another failed job out west and harboring an unidentified resentment of his father. As Biff confesses, “everytime I come back here I know that all I’ve done is to waste my life.” His brother, Happy, is a deceitful womanizer trapped in a dead-end job who confesses that despite having his own apartment, “a car, and plenty of women . . . still, goddammit, I’m lonely.” The present frustrations of father and sons collide with Willy’s memory when all was youthful promise and family harmony. In a scene in which Biff with the prospect of a college scholarship seems on the brink of attaining all Willy has expected of him, both boys hang on their father’s every word as he exults in his triumphs as a successful salesman:

America is full of beautiful towns and fine, upstanding people. And they know me, boys, they know me up and down New England. The finest people. And when I bring you fellas up, there’ll be open sesame for all of us, ’cause one thing, boys: I have friends. I can park my car in any street in New England, and the cops protect it like their own.

Triumphantly, Willy passes on his secret of success: “Be liked and you will never want.” His advice exposes the fatal fl aw in his life view that defines success by exterior rather than interior values, by appearance and possessions rather than core morals. Even in his confident memory, however, evidence of the undermining of his self-confidence and aspirations occurs as Biff plays with a football he has stolen and father and son ignore the warning of the grind Bernard (who “is liked, but he’s not well liked”) that Biff risks graduating by not studying. Willy’s popularity and prowess as a salesman are undermined by Linda’s calculation of her husband’s declining commissions, prompting Willy to confess that “people don’t seem to take to me.” Invading Willy’s memory is the realization that he is far from the respected and resourceful salesman he has boasted being to his sons as he struggles to meet the payments on the modern appliances that equip the American dream of success. Moreover, to boost his sagging spirits on the road he has been unfaithful to his loving and supportive wife. To protect himself from these hurtful memories Willy is plunged back into the present for a card game with Bernard’s father, Charley. Again the past intrudes in the form of a memory of a rare visit by Willy’s older brother, Ben, who has become rich and whose secrets for success elude Willy. Back in the present Willy is hopeful at Biff’s plan to go see an old employer, Bill Oliver, for the money to start up a Loman Brothers sporting goods line. The act ends with Willy’s memory of Biff’s greatest moment—the high school football championship:

Like a young god. Hercules—something like that. And the sun, the sun all around him. Remember how he waved to me? Right up from the field, with the representatives of three colleges standing by? And the buyers I brought, and the cheers when he came out—Loman, Loman, Loman! God Almighty, he’ll be great yet. A star like that, magnificent, can never really fade away!

The second act shatters all prospects, revealing the full truth that Willy has long evaded about himself and his family in a series of crushing blows. Expecting to trade on his 34 years of loyal service to his employer for a nontraveling, salaried position in New York, Willy is forced to beg for a smaller and smaller salary before he is fired outright, prompting one of the great lines of the play: “You can’t eat the orange and throw the peel away—a man is not a piece of fruit.” Rejecting out of pride a job offer from Charley, Willy meets his son for dinner where Biff reveals that his get-rich scheme has collapsed. Bill Oliver did not remember who he was, kept him waiting for hours, and resentfully Biff has stolen his fountain pen from his desk. Biff now insists that Willy face the truth—that Biff was only a shipping clerk and that Oliver owes him nothing—but Willy refuses to listen, with his need to believe in his son and the future forcing Biff to manufacture a happier version of his meeting and its outcome. Biff’s anger and resentment over the old family lies about his prospects, however, cause Willy to relive the impetus of Biff’s loss of faith in him in one of the tour de force scenes in modern drama. Biff and Happy’s attempt to pick up two women at the restaurant interconnects with Willy’s memory of Biff’s arrival at Willy’s Boston hotel unannounced. There he discovers a partially dressed woman in his father’s room. Having failed his math class and jeopardized his scholarship, Biff has come to his father for help. Willy’s betrayal of Linda, however, exposes the hollowness of Willy’s moral authority and the disjunction between the dreams Willy sells and its reality:

Willy: She’s nothing to me, Biff. I was lonely, I was terribly lonely.

Biff: You—you gave her Mama’s stockings!

Willy: I gave you an order!

Biff: Don’t touch me, you—liar!

Willy: Apologize for that!

Biff: You fake! You phony little fake! You fake!

Willy’s guilt over the collapse of his son’s belief in him leads him to a final redemptive dream. Returning home, symbolically outside planting seeds, he discusses with Ben his scheme to kill himself for the insurance money as a legacy to his family and a final proof of his worth as a provider of his sons’ success. Before realizing this dream Willy must endure a final assault of truth from Biff who confesses to being nothing more than a thief and a bum, incapable of holding down a job—someone who is, like Willy, a “dime a dozen,” no better than any other hopeless striver: “I am not a leader of men, Willy, and neither are you. You were never anything but a hard-working drummer who landed in the ash can like all the rest of them!” Biff’s fury explodes into a tearful embrace of his father. After Biff departs upstairs the significance of his words and actions are both realized and lost by the chronic dreamer:

Willy, after a long pause, astonished, elevated Isn’t that—isn’t that remarkable? Biff—he likes me!

Linda: He loves you, Willy!

Happy ,deeply moved Always did, Pop.

Willy: Oh. Biff! Staring wildly: He cried! Cried to me. He is choking with his love, and now cries out his promise: That boy—that boy is going to be magnificent!

Analysis of Arthur Miller’s Plays

Doggedly holding onto the dream of his son’s prospects, sustained by his son’s love, Willy finally sets out in his car to carry out his plan, while the scene shifts to his funeral in which Linda tries to understand her husband’s death, and Charley provides the eulogy:

Nobody dast blame this man. You don’t understand: Willy was a salesman. And for a salesman, there is no rock bottom to the life. He don’t put a bolt to a nut, he don’t tell you the law or give you medicine. He’s a man way out there in the blue, riding on a smile and a shoeshine. And when they start not smiling back—that’s an earthquake. And then you get a couple of spots on your hat, and you’re finished. Nobody dast blame this man. A salesman is got to dream, boy. It comes with the territory.

Linda delivers the final, heartbreaking lines over her husband’s grave: “Willy. I made the last payment on the house today. Today, dear. And there’ll be nobody home. We’re free and clear. We’re free. We’re free . . . We’re free. . . .”

The power and persistence of Death of a Salesman derives from its remarkably intimate view of the dynamic of a family driven by their collective dreams. Critical debate over whether Willy lacks the stature or self-knowledge to qualify as a tragic hero seems beside the point in performance. Few other modern dramas have so powerfully elicited pity and terror in their audiences. Whether Willy is a tragic hero or Death of a Salesman is a modern tragedy in any Aristotelian sense, he and his story have become core American myths. Few critics worry over whether Jay Gatsby is a tragic hero, but Gatsby shares with Willy Loman the essential American capacity to dream and to be destroyed by what he dreams. The concluding lines of The Great Gatsby equally serve as a requiem for both men:

Gatsby believed in the green light, the orgiastic future that year by year recedes before us. It eludes us then, but that’s no matter—tomorrow we will run faster, stretch out our arms farther . . . And one fine morning—

So we beat on, boats against the current, borne back ceaselessly into the past.

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Death of a Salesman Arthur Miller

Death of a Salesman essays are academic essays for citation. These papers were written primarily by students and provide critical analysis of the play Death of a Salesman by Arthur Miller.

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Death of a Salesman Essays

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Death of a Salesman by Arthur Miller Argumentative Essay

Introduction, personal failure, cultural failure.

Although he appears visionary and hardworking, Willy Loman fails to teach his sons the lessons of becoming successful in life because of his beliefs. Willy survives with a misconstrued ambition of becoming wealthy and inculcates this idea into his sons, Happy and Biff, even though he did not know how to achieve it. He trained his sons on his approach to life and hoped they would follow and achieve his dream of success.

He has no plan for his life and concentrates on his past failures, and his children seem perched to being successful, primed on his world hypotheses. Salesmanship has given Willy a feeling of greatness and merit. He believes that the present world has dishonored them by taking away the personality of salesmen.

Willy has taught this notion to his sons, who are very receptive and obedient to their father. However, these believes have caused him disappointment as they end up turning down his principles and goals. Willy Loman fails to guide his sons to greatness in their lives because of his personal and cultural beliefs.

Willy has an insensitive personality. He does not realize that his capabilities and aspirations are different from those of his sons. While Biff wanted an outdoors job, his father wanted a white collar job for him. Willy does not admit failure nor consider the opinion of his sons. This has led to rebellion from his sons, when they discover what is right for them.

For example, Biff disliked the business life recommended by his father and opted a life on the farms after realizing that success means an enjoyable life and not money. Willy believed that Biff would be successful in business because of his attractiveness, and his past splendor in high school soccer. However, this notion was wrong as Biff failed to graduate from high school and join college because of his arrogance.

He later recognizes his true personality and decides to work on a farm, where he would enjoy and feel comfortable. Willy is very upset in him and is discontented in all that he does. Contrary to his believe that popularity and fame lead to success; Willy never earned handsome wealth despite his claim for fame, and many years of experience.

This is made unsound when his boss demotes him, and he merely earns a commission before he finally gets fired, despite his friendship with Wagner’s father. His claim for connections fails him again. Willy’s idea of connecting Biff with important people at Penn State would be futile as football does not seem to be the best career for him. To Biff, having the right connections does not always help.

The expectations of Willy that his requiem would be fully packed due to his well connection and popularity failed to turn out as he thought since only the family members were present. Willy had inculcated a sense of superiority in Biff Loman that made him arrogant. This made him unsuccessful in graduating from high school and advance to college.

Willy’s melancholy originates from the misconceptions he had about the American dream and his incapability to connect how the world works with how he thinks it should work. The American dream stated that: through the established qualities of determination, creativity, hard work, and resilience, one may get contentment through riches and that a good-looking and loved man will no doubt attain the comforts of modern life.

This dream can be divided into two significances; the traditional dream and the business achievement dream. When one owns a house, has a good paying job, and lives a secure life, then h/she has accomplished the traditional dream. Willy Loman has accomplished this vision as he has an occupation, a vehicle, a residence, and a family, but he did not appreciate it.

He was so preoccupied with the business dream that he dismantles his family in the end. This dream made him sacrifice going to Alaska in search of his father where he came across the successful salesman, Dave. He decides to follow the same career path as Dave and hopes to get the same success as Dave. It is not until thirty five years of his career when he realizes he had not achieved the prosperity he had hoped to achieve.

What Willy fails to know is that even Dave Singleman, who is his epitome of prosperity, has not fulfilled the American dream. This is because at the age of eighty-four, Dave has not retired, lives in a hotel room, and has no family. His illusion about life and his mental disarray about the real American dream make him fail his sons as he does not know what is really needed of them to succeed.

Willy’s life was a disappointment as he had the wrong ambitions and failed to teach his sons the lessons for victory in life. He deluded himself that he could be a wealthy salesman, when he knew that he would be excellent at operating with hands. If Willy had faced his capabilities in a rational and sincere way, his life would not have ended this way.

It is evident that the top secret to success is a fortune in possessing ordinary talents and aptitude, and readiness to take chances in the corporate world, in addition to being industrious, devoid of taking shortcuts with friends. Cultural believes, such as the American dream, should help to instill values in individuals to put efforts in everything that they do.

• Chicago (A-D)
• Chicago (N-B)

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Bibliography

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Death of a Salesman

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Willy Loman , a traveling salesman, returns home to Brooklyn early from a sales trip. At the age of 63, he has lost his salary and is working only on commission, and on this trip has failed to sell anything. His son Biff , who has been laboring on farms and ranches throughout the West for more than a decade, has recently arrived home to figure out a new direction for his life. Willy thinks Biff has not lived up to his potential. But as Biff reveals to his younger brother Happy —an assistant to the assistant buyer at a department store—he feels more fulfilled by outdoor work than by his earlier attempts to work in an office.

Alone in his kitchen, Willy remembers an earlier return from a business trip, when Biff and Happy were young boys and looked up to him as a hero. He contrasts himself and his sons with his next door neighbor Charley , a successful businessman, and Charley's son Bernard , a serious student. Charley and Bernard, in his view, lack the natural charisma that the Loman men possess, which Willy believes is the real determinant of success. But under the questioning of his wife Linda , Willy admits that his commission from the trip was so small that they will hardly be able to pay all their bills, and that he is full of self-doubt. Even as Linda reassures him, he hears the laughter of The Woman , his mistress in Boston.

Charley comes over to see if Willy is okay. While they are playing cards, Willy begins talking with the recently deceased figure of his brother Ben , who left home at the age of seventeen and made a diamond fortune in Africa and Alaska. Charley offers Willy a job but Willy refuses out of pride, even though he has been borrowing money from Charley every week to cover household expenses. Full of regrets, Willy compares himself to Ben and their equally adventurous, mysterious father, who abandoned them when they were young. He wanders into his back yard, trying to see the stars.

Linda discusses Willy's deteriorating mental state with the boys. She reveals that he has tried to commit suicide, both in a car crash and by inhaling gas through a rubber hose on the heater. Biff, chagrined, agrees to stay home and try to borrow money from his previous employer, Bill Oliver , in order to start a sporting goods business with Happy, which will please their father. Willy is thrilled about this idea, and gives Biff some conflicting, incoherent advice about how to ask for the loan.

The next morning, at Linda's urging, Willy goes to his boss Howard Wagner and asks for a job in the New York office, close to home. Though Willy has been with the company longer than Howard has been alive, Howard refuses Willy's request. Willy continues to beg Howard, with increasing urgency, until Howard suspends Willy from work. Willy, humiliated, goes to borrow money from Charley at his office. There he encounters Bernard, who is now a successful lawyer, while the greatest thing Willy's son Biff ever achieved was playing high school football.

Biff and Happy have made arrangements to meet Willy for dinner at Frank's Chop House. Before Willy arrives, Biff confesses to Happy that Oliver gave him the cold shoulder when he tried to ask for the loan, and he responded by stealing Oliver's pen. Happy advises him to lie to Willy in order to keep his hope alive. Willy sits down at the table and immediately confesses that he has been fired, so Biff had better give him some good news to bring home to Linda. Biff and Willy argue, as distressing memories from the past overwhelm Willy. Willy staggers to the washroom and recalls the end of Biff's high school career, when Biff failed a math course and went to Boston in order to tell his father. He found Willy in a hotel room with The Woman, and became so disillusioned about his former hero that he abandoned his dreams for college and following in Willy's footsteps. As Willy is lost in this reverie, Biff and Happy leave the restaurant with two call girls.

When Biff and Happy return home, Linda is furious at them for abandoning their father. Biff, ashamed of his behavior, finds Willy in the back yard. He is trying to plant seeds in the middle of the night, and conversing with the ghost of his brother Ben about a plan to leave his family with $20,000 in life insurance money. Biff announces that he is finally going to be true to himself, that neither he nor Willy will ever be great men, and that Willy should accept this and give up his distorted version of the American Dream. Biff is moved to tears at the end of this argument, which deepens Willy's resolve to kill himself out of love for his son and family. He drives away to his death.

Only his family, Charley, and Bernard attend Willy's funeral. Biff is adamant that Willy died for nothing, while Charley elegizes Willy as a salesman who, by necessity, had nothing to trade on but his dreams. Linda says goodbye to Willy, telling him that the house has been paid off—that they are finally free of their obligations—but now there will be nobody to live in it.