Alexander Barnett on Death of a Salesman
Thematic Content and Structure
This is
not the story of a salesman; it is the story of Willy Loman, who just happened
to be a salesman. This is not the story of Everyman. Willy’s passion, love and
drive go way beyond the norm. Perhaps most people will relate to Willy, be
moved by him and, most important, think, contemplate and learn from his life
and his mistakes.
Willy,
like Eddie Carbone in Arthur Miller’s A
View from the Bridge, demands to be “totally known”. Like Eddie, he could
never settle for half. He must attempt everything even if it means ending up
with nothing. He will risk his very life to achieve his “due”, what he
considers his rightful status. As Arthur Miller says, “The commonest of men may
take on that [tragic stature] to the extent of his willingness to throw all he
has into the contest, the battle to secure his rightful place in the world.” Of
course, this willingness automatically removes him from being the commonest of
men.
Self-esteem
based upon the approval of others is evanescent and leads to self-delusion and
self-destruction. This, to me, is the primary theme of Death of a Salesman. All of Willy’s other problems — his lack of
self-knowledge, his refusal to follow his natural instincts, his constant
self-doubt, confusion and lack of confidence (no sooner does he make a decision
then he needs to be reassured that it’s the right one), his stubborn, pigheaded
determination to do things his own way, positive that he’s right and yet in the
next moment afraid that he’s wrong, begging for another opinion, the very bad
influence he is on his sons—all of this stems from the primary theme.
Having
achieved his self-esteem through the approval of others, Willy has watched
these ‘approvers’ go to their graves and take his self-esteem with them. As the
play progresses, it becomes more and more difficult for Willy to lie to and
delude himself. One after another, all the myths he has created in the past are
exposed before his eyes. There is no self-pity, only frustration, bewilderment
and epic struggle. The more he struggles the faster his decline.
Subconsciously, Willy knows where he went wrong, but consciously is unable to
come to terms with it. The constant and horrendous turmoil Willy endures is
based upon his subconscious awareness and conscious refutation.
Both
Biff and Happy, his sons, are confused, but Biff is desperately searching for
answers; Happy is under the delusion that he is searching, but in many ways has
found his niche. Like most womanizers, he’s mindless and self-gratifying. In no
way is Hap a young Willy as has sometimes been stated. He lacks the love,
passion and depth. Hap is puerile where Biff is undisciplined. Biff, being
deeper and more sensitive than Happy, suffers more from Willy’s influence.
Memory and Flashback Scenes
In all
of the memory scenes Willy, unlike the other characters, never actually leaves
the present but re-experiences the past. In effect, he revisits the pivotal
moments in his life and tries to make sense of them. Subconsciously, however,
he already knows what has and what will happen.
Example:
In Act II when he is in the hotel room with the woman and hears the knocking,
he knows that if he opens the door it will be disastrous, but is so lost in the
memory he cannot comprehend why. The memory scenes are subjective and
emotional; a pure visualization of Willy’s feelings and thoughts. Thus, they
are fragmented, elliptical and epitomized. He will sometimes remember four or
five separate events within one sequence.
The set
must be light, minimal and portable. There should be as much free and open
space as possible. The confines of the home should be created primarily by the
lights, not by actual, permanent walls. We should be able to expand and retract
easily and naturally. When his brother Ben enters, for example, we must go from
the confines of the kitchen to the open space of Alaska, Africa and the
prairies.
Rarely
will there be a blackout. Lights will frequently overlap or cross-fade. The
action must never stop. Willy’s mind is on a collision course and the lights
must reflect this. The set and lights must serve Willy’s mind, which is
constantly changing, striving, searching.
There
can come a point in a man’s life when it is too late. After this point is
reached, the truth, and not delusion, becomes the killer. Contrary to most
opinion, Willy does achieve self-awareness, and this very awareness is
something he is unable to come to terms with. He cannot live with the reality
and so hangs on to the delusion and dies with it.
Death of a Salesman is a tragedy of the first order.
Consider: a theme of epic importance; the strength, immensity and
uncompromising nature of Willy’s struggle; his fatal flaw; his intensity,
passion, love, devotion and total single-mindedness; his ultimate destruction;
Biff’s ultimate self-awareness. And finally, the fact that true tragedy must
have the potential for creating self-awareness in the audience. From this will
follow a purging of the soul. Death of a
Salesman most definitely creates this self- awareness.
Character Analysis
It is a sad and frightening truth
that Linda, Willy's wife, who is so totally devoted and loyal to him, who is
his pillar of strength, who will let no one speak ill of him (no matter how
justified it may be), who does everything possible to make his life peaceful
and happy, who knows so well how to handle him, who can anticipate almost his
every mood and who prides herself on understanding him so well, in actuality
knows Willy very little.
Fundamentally,
Biff is decent, gentle and sensitive. He is extremely stubborn, with a strong
independent streak. Right to the very end it is love, not hatred, that drives
the relationship between Biff and Willy. Biff hates Willy for betraying his
mother, but still loves him deeply for the love and affection Willy lavished on
him. He is furious with himself for being unable to remove what he considers
this yoke of love, and this exacerbates his antagonism toward Willy.
It is
said that Biff’s life is ruined after discovering that Willy is a philanderer.
Certainly, it is a tremendous setback, but there are other factors at work
here. His innate nature plus his prior experiences and conditioning are of
major importance. It is not the discovery of the event itself that causes Biff
to give up and leaves him unable to cope with the experience.
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