Section One

Life and Works of Arthur Miller

1.1 Life of Arthur Miller:

Arthur Miller's life was shaped by a combination of personal challenges, literary

accomplishments, and cultural impacts that left an enduring imprint on American theater
and society as a whole. Born into a middle-class Jewish family, Miller, the second of three
children, experienced financial difficulties during the Great Depression, which significantly
influenced his perspective and later manifested in his literary works. Initially pursuing
journalism, Miller later shifted his focus to English literature and playwriting during his
university years, drawing inspiration from renowned literary figures such as Henrik Ibsen
and Anton Chekhov (Bigsby, Encyclopedia Britannica).
One of Miller's most notable achievements was the Pulitzer Prize for Drama, awarded to
him in 1949 for his seminal work "Death of a Salesman". This iconic play not only cemented
Miller's status as a leading American playwright but also became a cornerstone of the
nation's theatrical landscape. Through its exploration of themes like disillusionment and
the American Dream, "Death of a Salesman" continues to be revered and performed
globally.
Miller's influence extended beyond the realm of theater, as he actively engaged in
advocating for social and political justice, particularly during the McCarthy era . His
defiance against the House Un-American Activities Committee in 1956, for which he was
initially convicted of contempt of Congress before the decision was overturned, showcased
his commitment to his principles.
Throughout his life, Arthur Miller remained dedicated to challenging societal norms and
stimulating critical thinking among audiences through his plays, including notable works
like "The Crucible" and "A View from the Bridge". His enduring legacy as a literary giant and
social commentator continues to inspire playwrights and audiences alike, reflecting his
profound insight into the human condition (Biography.com).
1.2 Educational achievements:

Arthur Miller's path through education laid the groundwork for his future
accomplishments as a writer. During his teenage years, Miller took on the responsibility of
delivering bread every morning before school to support his family. Reflecting on his
formative years, Miller penned "A Boy Grew in Brooklyn," an account of his upbringing
(Miller, 1955).
Upon graduating from Abraham Lincoln High School in 1932, he juggled various menial
jobs to fund his college education at the University of Michigan. Following his graduation
around 1936, Miller ventured into roles as a psychiatric aide and copywriter before
embarking on teaching positions at New York University and the University of New
Hampshire.
It was during this period that he became involved with the League of American Writers
(1935–1943), alongside notable figures such as Alexander Trachtenberg, Franklin Folsom,
and Lillian Hellman. During his time at the University of Michigan, Miller initially pursued
journalism and contributed to publications like The Michigan Daily and the Gargoyle
Humor Magazine.
It was here that he penned his debut play, "No Villain." Eventually shifting his focus to
English, Miller's talent was recognized when he won the prestigious Avery Hopwood
Award for "No Villain," prompting him to delve further into playwriting.
Under the mentorship of Professor Kenneth Rowe, Miller honed his craft in a playwriting
seminar, delving into the intricacies of constructing compelling drama. Rowe's guidance
provided Miller with invaluable feedback and encouragement, establishing a bond that
lasted a lifetime (Encyclopedia Britannica) www.britannica.com/biography/Arthur-Miller-
American-playwright
1.3 Cultural Works and Achievements:

"The Crucible" (1953) is a pinnacle in Arthur Miller's literary repertoire, "The Crucible"
stands as a searing exploration of mass hysteria, moral dilemmas, and the consequences of
unchecked fanaticism. Set against the backdrop of the Salem witch trials, Miller ingeniously
draws parallels to the McCarthy era's Red Scare, delivering a powerful commentary on the
dangers of ideological extremism. The play unfolds with chilling intensity as false
accusations, fueled by fear and suspicion, lead to a cascade of tragic events. Miller's vivid
portrayal of the Salem community underscores the fragility of justice and the ease with
which truth can be distorted in times of fear. "The Crucible" not only serves as a historical
cautionary tale but also resonates as a contemporary critique of McCarthyite witch hunts,
making it a thought-provoking and enduring piece of American literature. The play's
enduring relevance lies in its capacity to prompt reflection on the consequences of
unchecked power, offering a stark warning against the dangers of sacrificing individual
freedoms on the altar of societal paranoia. Through its nuanced characters and gripping
narrative, "The Crucible" remains a testament to Arthur Miller's ability to illuminate the
darkest corners of the human psyche and society's collective conscience .This kind of
impactful works that delved into the complexities of human experience and society
resulted in a lot of cultural achievements. All My Sons (1947), Miller’s first success, retains
the flavor of post–World War II America, though it is indubitably something beyond a
period piece. Perhaps all of Miller’s work could be titled The Guilt of the Fathers, which is a
dark matter for a Jewish playwright, brought up to believe in the normative tradition, with
its emphasis upon the virtues of the fathers. Though it is a truism to note that All My Sons is
an Ibsenite play, the influence relation to Ibsen remains authentic, and is part of the play’s
meaning, in the sense that Ibsen too is one of the fathers, and shares in their guilt. Ibsen’s
peculiar guilt in All My Sons is to have appropriated most of Miller’s available stock of
dramatic language. The result is that this drama is admirably constructed yet not
adequately expressed. (Dramatists And Drama, 2006)
1.4 Cultural achievements:

Miller's exploration of the American Dream in plays like "Death of a Salesman" and "All My
Sons" critically examined the pursuit of success, materialism, and the impact of societal
expectations. His works challenged the idealized notion of the American Dream,
contributing to cultural conversations about the nature of success and its consequences
(Gottfried, 2005).
Miller was actively engaged in addressing social and political issues of his time. "The
Crucible" serves as an allegorical critique of McCarthyism and the Red Scare in 1950s
America. By drawing parallels between the Salem witch trials and the anti-communist
hysteria, Miller offered a powerful commentary on the dangers of ideological extremism
(Bigsby, 2008).
Miller's plays often grappled with complex moral and ethical dilemmas. Whether it was the
examination of personal responsibility in "All My Sons" or the consequences of false
accusations in "The Crucible," Miller's works prompted audiences to reflect on their own
values and societal norms (Gottfried, 2005).
Miller excelled in creating multidimensional characters with flaws and vulnerabilities. By
humanizing his characters, he contributed to a more nuanced understanding of the human
condition (Gottfried, 2005).
Miller's contributions to American theater are monumental. His works earned critical
acclaim, with "Death of a Salesman" winning the Pulitzer Prize for Drama and "The
Crucible" becoming a classic. Miller's distinct voice and thematic richness influenced
subsequent generations of playwrights, leaving an indelible mark on the landscape of
American theater (Encyclopedia Britannica).
Miller was a staunch advocate for artistic freedom and integrity. His refusal to name names
during the McCarthy-era investigations into alleged communist sympathies in the
entertainment industry demonstrated his commitment to principles and the right to
creative expression (Associated Press, 2002).
Miller's cultural impact extends beyond his lifetime. His works continue to be studied,
performed, and adapted, showcasing their enduring relevance. Miller's ability to capture
the essence of human struggles and societal challenges ensures that his cultural legacy
remains a vibrant part of literary and theatrical discourse (Encyclopedia Britannica).
 Section Two
Summary about Death of a Salesman
2.1Plot

Death of a Salesman (1949), Miller`s finest play, Miller endowed similar issues and
problems with a tragic dimension.
It relates the story of a representative American, Willy Loman: an ordinary man, as his
surname punningly indicates, but one whose choices and their consequences spell out the
darker side of the national dream.
A salesman who, after thirty-five years on the road, has never achieved the rewards and
recognition for which he had hoped, Willy is driven to despair by his failure in a system
that seems to him to guarantee success.
Measuring his worth by the volume of his sales – Miller never lets us know what Willy sells
because, essentially, he is selling himself –Willy 314 The American Century: Literature
since 1945 withdraws from the crises and disappointments of the present into memories of
the past and into imaginary conversations with his brother Ben, his symbol of success.
Willy is driven to despair by his failure in a system that seems to him to guarantee success.
Despite his growing sense of separation from the success ethic, he still judges himself in its
terms. His wife Linda watches helplessly as he tears himself apart. All she can do is care and
ask others to care: “attention,” she declares, “attention must be finally paid to such a
person.” His son, Happy, can only surrender to the same ethic.
Willy’s other son, Biff, is different. Biff senses that he does not want what the world calls
success. But unfortunately, he cannot articulate, or properly know, what he does want. “I
don’t know – what I’m supposed to want,” he confesses. Despite Biff having a promising
football career in high school, he failed in mathematics and was therefore unable to enter a
university. All he can say to Willy, in a desperate declaration of personal love and social
resistance, is “Pop! I’m a dime a dozen, and so are you!” Listening to Biff, Willy learns the
value of love. Tragically, and typically, however, he then translates love into the only values
he knows, the values of a salesman.
What he gives Biff in return is the gift of himself, or rather his worth as an economic unit.
Willy kills himself so that his family can have the insurance money and Biff, he hopes, can
get a new start in life. Willy Loman moves us because he dies the death of a father, not of a
salesman. Whether Miller’s critique of the values of a capitalistic society is trenchant
enough to be persuasive, or not. But Loman’s yearning for love remains poignant, if only
because it destroys him. Miller’s true gift is for rendering anguish, and his protagonist’s
anguish authentically touches upon the universal sorrow of failed fatherhood.
As the play progresses, Willy's mental unraveling intensifies. He becomes fixated on the
idea of success and validation, particularly through his son Biff, whom he sees as his last
hope for achieving greatness. However, Biff's disillusionment with his father's values and
his own inability to find his place in the world lead to a climactic confrontation between
father and son. Meanwhile, Willy's relationship with his younger son, Happy, also reaches a
breaking point as Happy grapples with his own sense of identity and worth.
Willy's suicide sends shockwaves through his family, who are left to grapple with the
aftermath of his actions. Linda, Willy's devoted wife, mourns his death and struggles to
come to terms with the reality of their life together. Biff, deeply affected by his father's
death, begins to reassess his own values and ambitions, realizing the emptiness of the
American Dream he once pursued.
The final scene takes place at Willy's funeral, which is attended only by his family, Charley
and Bernard. The ambiguities of mixed and unaddressed emotions persist, particularly
over whether Willy's choices or circumstances were obsolete. At the funeral, Biff upholds
his belief that he does not want to become a businessman like his father. Happy, on the
other hand, chooses to follow in his father's footsteps, while Linda laments her husband's
decision just before her final payment on the house.
“He had the wrong dreams, all, all, wrong,” Biff observes his father, as he stands beside his
graveside. The tragedy of Willy Loman was that, and that he was tremulously aware of that.
And Miller makes it clear, it is the tragedy of a society as well. (A Brief History of American
Literature) (Dramatists and Drama, 2006)
2.2 Characters Analysis

Willy Loman:
Willy Loman, the protagonist of "Death of a Salesman," is a tragic figure whose relentless
pursuit of success embodies the contradictions of the American Dream. His belief in success
as an entitlement, explored in Martin Gottfrid's analysis in "Life and Work: A
Comprehensive Analysis of 'Death of a Salesman' by Arthur Miller," drives much of his
behavior. Willy's struggle to reconcile his personal worth with societal expectations, as
discussed by Emily Brown in "The American Dream in Arthur Miller's 'Death of a
Salesman'," deepens our understanding of his character.
His flawed relationships with his sons, particularly Biff, mirror his own inner conflict,
leading to his tragic downfall. As a salesman, Willy stages a performance for buyers, for his
sons, for the father who deserted him, the brother he admired. Gradually, he loses his
audience, first the buyers, then his son, then his boss.
He walks on to the stage, no longer confident he can perform the role he believes is
synonymous with his self, no longer sure that anyone will care. He lives a temporary life, a
life of cars, trains, offices, hotel rooms. The rhythm of his existence is determined by
timetables, appointments, sales targets. Whatever the salesman needs, Willy seems to lack.
He is tempted by suicide not because he fails to understand his situation but because he
does. It is for that reason that he tracks back through his life in memory, restlessly
searching for the moment when he betrayed life or it betrayed him. In that sense it is Willy
Loman who constructs much of the play as he returns to a time which had once seemed
golden but had, in some way he cannot understand, carried the seeds of his current dismay.
Where he remains illusioned is in his conviction that his death can win what his life cannot.
His life insurance will gift his sons the success that has eluded them and him.

Biff Loman:
Biff Loman is Willy's eldest son, when the play begins, he has been summoned home
because his mother knows that her husband’s life is at risk. He has begun to plan his
suicide. Who else but the sons can rescue him? To return, however, is to threaten the peace
which Biff has managed to secure for himself on the other side of the anarchy bequeathed
by his father.
Brought up to expect success, to take what he wants, he has spent time in jail. His rejection
of conventional success reflects his resistance to societal norms and his search for
authenticity.
Biff's complex relationship with Willy sheds light on his internal struggle and his desperate
attempt to find meaning beyond material success. The relationship between Willy and his
son is central. The magnetic force that paradoxically pulls them together and thrusts them
apart: ‘He is hounded by and is hounding Willy with guilt’, he reminds himself; ‘Raise the
conflict in Biff between wanting NY success and hating Willy. This is the climax’; ‘Biff wants
to save him, and at the same time to free himself.’ He is angry ‘at Willy’s weakness,
helplessness, and at W’s love for him’; ‘Biff’s conflict is that to tell the truth would be to
diminish himself in his own eyes.
To admit his fault. His confusion, then, is not didactic, or directed to Willy’s elucidation or
salvation, but toward a surgical break which he knows in his heart W could never accept.
His motive, then, is to destroy W, free himself.’

Happy Loman:
Happy Loman, Willy's younger son, embodies the shallowness of the American Dream. He
seeks validation through career success and romantic conquests, mirroring Willy's values
but lacking the self-awareness to question them. Happy has turned into a self-deceiving
womanizer who believes in nothing but his own pleasure, getting nowhere but, seemingly
like his father, contenting himself with illusions showing us the destructive nature of
societal expectations and the pursuit of superficial happiness.
Linda Loman:
Linda Loman, Willy's devoted wife, serves as a stabilizing force amidst the chaos of Willy's
delusions. Her unwavering support and unconditional love for Willy underscores her role
as the emotional anchor of the family. Linda's character, examined by Brown, reveals the
toll of the American Dream on familial relationships and the sacrifices made in its pursuit.

Ben Loman:
Ben Loman, Willy's successful brother, represents the epitome of the American Dream
realized. His presence haunts Willy's imagination, serving as both an inspiration and a
reminder of Willy's failures. Ben's character symbolizes the unattainable ideal that drives
Willy to his tragic end.

Charley:
Charley, Willy's neighbor and friend, serves as a foil to Willy's character. His success in
business highlights Willy's failures, contributing to Willy's feelings of inadequacy and
resentment. Charley's character is apparently at peace with his own limitations and
achievements but for all his humanity is more prosaic than Willy. He underscores the harsh
reality of the American Dream and the disparity between perception and reality.

Bernard:
Bernard, Charley's son, contrasts with Biff in his pursuit of academic and professional
success. As with his father, there is no doubt as to Bernard’s success or humanity, a success,
moreover, rooted securely in the Puritan ethic whose essence eludes Willy Loman, who
believes that he bought into it by virtue of his American identity and by his purchase of
consumer goods which seemed conspicuous evidence of his achievement. Bernard’s
journey to Washington to plead before the Supreme Court may not make him a twentieth-
century frontiersman but it does locate him in a tradition which would take him back to
Benjamin Franklin and the Founding Fathers rather than Horatio Alger Jr. There is a
causality to his success. Nor does it owe anything to his father who prides himself on his
hands-off approach to parenthood. At the same time, we never glimpse Bernard’s sense of
the cause which his upward mobility might serve. An honest and talented striver, he moves
onwards with a certain grace and humanity but remains closed to us and therefore an
uncertain paradigm of the Dream. Certainly, Bernard’s success seems a mystery to Willy.
Why, after all, did Biff not follow a similar path? (Bigsby, 2008).