By Sterling Professor of the Humanities Harold Bloom
Bargains an inquiry into the that means of yankee Dream. This play which gained the writer a Pulitzer Prize and a Tony award offers the lead personality, Willy Loman (played over the years by means of Lee J Cobb, George C Scott, Dustin Hoffman, and Brian Dennehy, between others), who has come to symbolize the middle-class fight.
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Extra info for Arthur Miller's Death of a Salesman (Bloom's Modern Critical Interpretations)
When I walked out I was twenty-one. ” (Salesman 160). And there is always the tone of remorse in Willy’s voice whenever he mentions Ben, for he associates his brother with his own missed opportunity: the Alaska deal which Willy turns down and with it the chance to make a fortune. Clearly, then, Ben embodies more than just the image of success in Willy’s mind; he also represents the road not taken. In other words, he is, in many ways, Willy’s alter ego. Ben is the other self which Willy could have become had he chosen to live by a different code of ethics.
4 This critical struggle for authenticity occurs within the context of the tragic vision: The tragic visionary may at the crucial moment search within and ﬁnd himself “hollow at the core,” because he has been seized from without by the hollowness of his moral universe, whose structure and meaning have until then sustained him. What the shock reveals to its victim—the existential absurdity of the moral life—explodes the meaning of the moral life, its immanent god and ground. ” Within this context of tragic self-revelation Willy (qua salesman) strives to experience himself as somehow authentic.
6. , Arthur Miller’s Collected Plays I, 34. 7. Arthur Miller, Timebends: A Life (New York: Grove, 1987) 184. STEPHEN BARKER The Crisis of Authenticity: Death of a Salesman and the Tragic Muse In Death of a Salesman, Miller has formulated a statement about the nature of human crises in the twentieth century which seems, increasingly, to be applicable to the entire fabric of civilized experience. —Esther Merle Jackson E ven those who have disputed the right of Death of a Salesman to claim the stature of modern tragedy have been highly aware of its dialogue with that enigmatic and elevated genre.
Arthur Miller's Death of a Salesman (Bloom's Modern Critical Interpretations) by Sterling Professor of the Humanities Harold Bloom