Willy Loman's Tragedy-"Lack of a real family life in his youth"

Once the audience has this noesis it becomes clear that the haunting sound of the flute "evokes the whole none of an unobtainable past" (Brater 124). The past, meaning his start out, was never obtainable, but Willy had been booked in the search for it all his life. Arthur Miller said that in the play Willy has reached a predict where "the voice of the past is no longer distant but quite as thunderous as the voice of the rescue"(quoted in Brater 124). His father's calamity toward Willy invades the face up because the mo manpowerts shown in the play's present-day scenes are those in which the seeds of his abandonment prevail fruit. The past which is the source of Willy's failure has begun to invade a present where Willy will, in effect, pass his father's failure and his own down to his sons. This point is made with great strength by Hap's ridiculous and slimy speech in which he tells Biff at Willy's weighty that "I'm gonna show you and everybody else that [Willy Loman] had a good woolgather . . . the only dream you screwing have--to come out number-one man" (138-39). Hap has erudite nothing from his father's wasted life except to fully launch the twisted message and hopes that misled his father. Even Biff, who is more aware that his father has made fundamentally wrong choices in his life, sums up Willy's failure as "a hard-working drummer who landed in the ash can bid all the rest of them"--thereby fundamentally accepting, like

Jacobson, Irving. "Family Dreams in Death of a Salesman." Critical Essays on Arthur Miller. Ed. James J. Martine. Boston: G. K. Hall, 1979. 44-52.

Roudan?, Matthew C. "Death of a Salesman and the Poetics of Arthur Miller." The Cambridge Companion to Arthur Miller. Ed. Christopher Bigsby. Cambridge: Cambridge UP, 1997. 60-85.

Because Willy Loman pinned his hopes for conclusion the love he had lost (with his father's disappearance) on the outside dry land, the world of business, he was doomed to failure. In his early searching he sought models of behavior that resembled his father in some slipway and this tragi hollery misled him.

Dave Singleman and his brother Ben seemed, to Willy's emotionally uneducated eye, to be men who had solved, or could solve, the problem of emptiness that his father's abandonment had brought about in Willy. Achieving success in the business world seemed to h former(a) the come across to fulfillment.

Miller, Arthur. Death of a Salesman. New York: Viking, 1949.

When the figure of Ben appears he is describe as "utterly certain of his destiny" and this projection of Willy's whimsey of success mirrors his own pathetic failure to achieve anything like such confidence in his life (44). Willy has been berating Charley for not being a man because of his home-repair failure and Charley's haywire protest, "Don't call me disgusting Willy," accompanies the appearance of the imagined figure of Ben (44). At this juncture, in a normal conversation, Willy would have had to either withdraw his remark or explain himself. But even in dealing with his mild friend he retreats from the possibility for self-examination that the occasion calls for. Willy king have been required to ask himself why he had been determined to make this rude remark about failure and, since it understandably applied to himself rather than to Charley, he retreats from this possibility. He turns instead to his old vision which, in the version of Ben that appears on the stage, remains untarnished.
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