Abstract This paper reviews Arthur Miller's play "Death of a Salesman" and looks at how psychological realism delves into the mental states of the characters and seeks the underlying causes for their actions. It examines how the set and the way the action moves from place to place in the play is not realistic but expressionistic and how a psychological picture is created for each character since the way characters interact is real and rooted in mental states. It looks at how Willy wants respect and in spite of Willy's failures, Arthur Miller believes that Willy and his generation deserve respect for their strengths and forgiveness for their weaknesses. It analyzes how this is brought out through a contrast between the older and the younger generation to show how the younger generation focuses on the faults of the older while failing to see its own faults.
From the Paper "Miller speaks here for the average man who tries his best to make a living and raise a family. All Willy wants is recognition, from his family, his boss, the world. He has been chasing the American dream without success, and he has been blinded to the real value in his life by that dream. His tragedy is that he creates his own hell by the way he has conducted his life, treated his family, and done his job, all in a quest for a certain definition of success while ignoring the real values around him. In the structure of the play, the viewer has to pay attention to Willy and his life because Willy is in every sense the center of the play."
Abstract This paper examines how the American Dream inspires the characters of the play, but it is an ideal they see as being kept from them because they are black in a white world. It discusses the struggles of the parents to provide a better life for their children and how this is ultimately achieved despite the hurdles facing them.
From the Paper "The ideal of home ownership is what attracts Lena, and she sees her role as dedicated to getting the family out of the slum and into a suburban home. She sees this as a ticket to a form of freedom and an affirmation of life. For her, the money is just a means to achieve this end, a view which conflicts with that of her son: "Once upon a time freedom used to be life--now it's money" (61). She tells Walter that "it makes a difference in a man when he can walk on floors that belong to him" (81), and the house in Clybourne Park therefore offers an opportunity for Lena to change her son, to make him more like his father and less like the bitter man she sees withdrawing from life because he cannot have his way. The house also represents a potential conflict as well as a chance for betterment because it is in a white neighborhood, which frightens others in the family, such as Walter: "So that's the peace and comfort you went out and bought for us today!" (81)."
Abstract This paper examines the importance of truth and illusion in "Who's Afraid of Virginia Woolf?" by playwright Edward Albee. The paper shows that these themes are central to the plot, making for great suspense as the audience realizes the tragedy of the facade that characters Martha and George have created to avoid facing reality. The paper shows that the issues of truth and illusion allow the author to demonstrate the fragile fantasy which supports the American dream. As an absurdist, Edward Albee believed illusion created a false contentment and this is shown by the shambolic nature of the two marriages in the play. The paper shows that Albee believed that however harsh the reality, people had to learn the difference between truth and illusion.
From the Paper "Another important role of truth and illusion in the novel is that it allows Albee to demonstrate his views on American society. By calling the central characters George and Martha, he makes an unmistakable reference to George and Martha Washington. Albee uses their marriage as a microcosm for the imperfect state of America. The marriage of George and Martha is essentially based on fantasy and illusion, as is that of Nick and Honey, seemingly representative of the conventional American couple. Therefore, Albee is asking his audience to question the American society represented by the marriage of George and Martha, and to begin to consider whether the American dream is actually based on similarly false illusions."
Abstract In "Death of a Salesman" by Arthur Miller, Willy Loman finally realized that he had been living a life of illusion and self-deception. The paper shows how his son Biff has seen the truth about his father's self-delusions much earlier then Willy. This causes clashes between the two, as Willy still believes that Biff will amount to something and Biff finally confronts his father about his low station in life and the fact that the two of them will always be nobodies. The paper examines the relationship between Willy and Biff Loman based on Willy's self-delusions.
From the Paper "Willy developed the theory that if a person is well liked and is very good looking then doors, i.e. opportunity, will automatically be opened for him. In essence Willy believes in style over substance. Willy Loman, raised his two boys to embrace the same illusions about life and the keys to success that he has. Both boys, in their 30's in the play, grow up to be failures as well. Hap, like his father, is blind to this fact; Biff on the other hand has had those illusions removed a long time ago. Biff, unlike his brother and mother, sees the truth about his father and feels a compulsion to seek the truth about himself. This conflict between Biff and Willy is the central conflict in the play that the story revolves around."
Abstract Due to its lack of action and outward conflict, the theme of physical and mental escape in Tennessee Williams' play "The Glass Menagerie" is examined in this essay. The paper analyzes both symbols of the escape theme and discusses ways that each character portrays the theme.
Abstract This three-page undergraduate paper critically analyzes the character of Willy Loman in Arthur Miller's play ' Death of a Salesman'. The character is a complex as the man refuses to accept the reality and has carved an imaginary world for himself. The play takes into the account the man's mental condition and the possible causes and repercussions.
Abstract This paper compares the Goddess Medea to the tri-figured Mother/Goddess. The virgin, mother, and icon images of the Mother Goddess all relate to Medea in different ways throughout the play. The paper includes in-text citations with bibliography.
From the Paper "The Mother/Goddess is a manifestation of the overwhelming feminine attributes of the world in the first religions. The religions portray the power of the Mother/ Goddess to be both the creator and the destroyer of life. She also represents time, the creator of fate and provider of all destinies. The Mother/ Goddess is all knowing and spiritually represents wholeness and one complete cycle. The Mother/ Goddess represents the irrational aspects of life and nature with intuitive wisdom. Medea exemplifies all of these points as she learns of Jason's deception. She then shows each aspect of the Mother/ Goddess as she sets her plan to murder the princess, the king and her children to destroy the life Jason has made for himself with his new bride.
Abstract This paper discusses how there are likely as many similarities between these two plays as there are dramatic differences. It explains that both are extremely well-written, both allow the audience to peek into the living rooms and lives of interesting people, and both also put a microscope on society and allow the audience to examine the real characters that make America what it is. This paper compares and contrasts these two plays.
From the Paper "Fences, which depicts the African-American family experience of the late 1950s, just prior to the social and civil rights explosions of the 1960s, is in a way the balancing act on the other side of the American teeter-totter from Salesman, a story of the middle class American Caucasian experience of the late 1940s. Characters in both fictional families are seen in their realistic settings, and are believable. Death of a Salesman of course is a far more well-known play, indeed an internationally renowned play, having initially run on Broadway for 742 performances, opening in February, 1949, and winning the Pulitzer Prize, plus the New York Drama Critics Circle Award for best play of the season. Miller's play (directed by the playwright himself) has also been presented in France, Germany, Australia, Russia, England, China ? and 17 million viewers tuned in to its TV production by CBS in 1966 (starring Lee J. Cobb as Willy); topping that were the 25 million in the TV audience in CBS's 1985 production starring Dustin Hoffman (as Willy), Kate Reid, and John Malkovich."
Abstract Examines how women and men look differently at the world, at one another, and at circumstances. Describes the plot involving women covering-up a murder to protect an abused wife.
From the Paper "In Susan Glaspell's one act play, Trifles, the reader or
audience is challenged to recognize that men and women "know" and learn in different ways. In the play, a crime has been committed in which John Wright, who has been known to be ..."
Abstract This paper examines Arthur Miller's play, "Death of a Salesman", and looks at how it deals with important aspects of American life and, in particular, the idea of the American Dream. It discusses how the play and its preliminary production set the tone for American drama for the rest of the century through its sociopolitical themes, its lyrical pragmatism, and its focus on the ordinary man. It examines how there are a number of central and noteworthy themes that are developed through the aid of Arthur Miller's skillful use of practices such as background, classification, and representation. It also analyzes how the theme of failure within an achievement-oriented society is something, which not only had significance for those who pursued the proverbial American Dream, but which still has great implication for our own modern society where achievement is considered more important than human dignity.
From the Paper "The main character, Willy Loman is a salesman, who has lost his hold on reality. Willy, who has constantly placed high value on being admired, dreamed of dying the "death of a salesman". In his illusionary world, he was living a life of comfort and finishing deals through contractors on the phone. Instead, all of Willy's objectives seem to have failed: he is laid off from his job, nobody among his old friends remember him, his son Biff has not turn out the man he expected he would be, and he is forced to rely on loans from his former competitor. His other son, Happy, acts as if he is lucratively climbing the business ladder but is in fact lying to his father regarding the full measure of his achievement (Griffin, Alice.1996)."
Abstract This paper explores the theme of honesty in this play and how the characters convey Moliere's message that, while honesty is much appreciated everywhere, it is important to use tact while being honest or else we risk alienation from society.
From the Paper "The play revolves around four important characters, Alceste, Celimene, Philinte and Eliante. It is through the characters of Alceste and Celimene that the author conveys his views on honesty. Philinte serves the important purpose of balancing honesty and deceit by adopting a middle path, which is both sensible and practical. Alceste is the protagonist of the play who is a man of rather unfriendly disposition and t5his unfriendliness emerges from his desire to be complete and even bluntly honest about everything."
Abstract This paper examines how in Sophocles "Oedipus the King", Oedipus endures a dramatic transformation in character. It details the fall of Oedipus's character from a confident king to an ashamed person of exile. It also follows Oedipus's change in his self-perception and his change in identity.
From the Paper "When Oedipus first addresses the city of Thebes, he confidently states, "Here I am myself-- you all know me, the world knows my fame: I am Oedipus" (ll. 7-9.) This statement affirms his self-assured nature. At this point in the play, by claiming ?I am Oedipus,? he is emphasizing his self-knowledge, or at least what he believes to be this. He feels proud of his past accomplishments and believes that he has nothing to hide. He appears confident, open, and trustworthy; these characteristics have brought Oedipus respect and admiration within the community, and they have helped him to achieve such a prestige position as king."
An analysis of fate, insanity, and the tragic lives of Oedipus in "Oedipus Rex" by Sophocles and Willy Loman in "Death of a Salesman" by Arthur Miller.
Abstract Considered as fine works of literature that demonstrate the tragic lives of humanity amidst its flaws and weaknesses, the plays "Oedipus Rex" by Sophocles and "Death of a Salesman" by Arthur Miller aptly reflect, through their protagonist characters, their belief in fate and resulting tragic lives that marked their downfall to insanity and, later, towards death. This paper discusses these three significant concepts: fate, insanity, and tragedy, which are relevant to the main point in both of these plays.
From the Paper "Similarly, Willy Loman in Miller's famous contemporary play illustrates the modern American who depended heavily on fate-in American culture, it is synonymous with the concept of "American dream." Willy's beliefs that he and his sons, Biff and Happy, are destined to have a life of economic success, just because they have the 'proper social connections' and personality that will endear them to many people, and in fact, towards having a lucky and prosperous life. Willy's obsession to achieve the American dream by relying on pure charisma alone resulted also to his downfall: not only did he fail in his career as a salesman, but his sons also failed to realize their dreams in life, in the belief that their father's promise of an economically successful life will come true (Ardolino, 1998:2). Like Oedipus, Willy's belief in his fate as a successful salesman led to his indolence, which led to his family's increased fall towards poverty, causing him to commit suicide."
The history and development of the architecture of the Roman theater building. An in-depth look at how the ancient Romans borrowed heavily from the Greek example, but improved upon it to create a building that was uniquely Roman.
Abstract The paper discusses in great detail the evolution of the Roman theater, beginning from the Greek wooden origins to the stone monuments that became iconic with Roman architecture during the Republic and the Empire. A brief history of theater is discussed in the beginning of the paper, with special attention given to the religious implications of how theaters were originally set up. The importance of the orchestra and "skene" are given historical background, dating back to early Dionysian worship. The layout of the early Greek theaters are discussed, with a complete layout included that describes the circular performance area, the seating arrangements, background adjustments and a rudimentary stage. The rest of the paper deals with how the Romans, eager to take the art of theater from being a religious practice to more of an entertainment value for the masses, incorporated their own unique designs to the Greek theater layout to create a more efficient and clearly Roman design. Heavy attention is give to Vitruvius and his work " De Architectura" which provides a step-by-step process in which Roman theaters were built. Improvements are discussed from eliminating the completely circular stage to a half-circle, as well as creating an official stage that persists in modern theatrical performances. The paper takes each part of the theater and discusses the area extensively in terms of what the Romans did to improve upon or change from the early Greek models.
From the Paper "Ancient Rome's concept of art and architecture was heavily influenced by the cultures that the Romans had conquered, but were in no way identical copies of the art that existed in those subjugated areas. The Romans excelled at taking artistic ideas from other civilizations and molding them into a form that could undoubtedly be identified as uniquely Roman. This technique can easily be seen in practice when one examines the Roman theater building. Roman theaters can be found throughout the area that used to be the Roman Empire, with remnants of theaters all over Europe and the Mediterranean. These theaters have details and building techniques that are exclusive to Roman designs, but when they are viewed in comparison with ancient Greek theaters, one can clearly see where the Romans received their inspiration."
Abstract In this paper, the writer discusses the institution of marriage as demonstrated in the Victorian play 'The Importance of Being Earnest' by Oscar Wilde. The writer shows that the morality of being unity with a loved one is certainly the external social apparatus of Victorian marriage, but Wilde often points out the reality of patriarchal institutions that make marriage more like a business. Further the writer demonstrates that by realizing what moral virtues uphold the union of man and woman in love; the contrary affect of female abuse and sublimation are often the satirical reality in Wilde's classic play.
From the Paper "This drama study will examine the morality of the Victorian marriage within the context of Oscar Wilde's 'The importance of Being Earnest'. By defining the often patriarchal nature of marriage in the Victorian period, one can realize the social institution that forged the strict observance of men and women being 'one' through a legal and moral binding. However, Oscar Wilde often conflicts with the institution of marriage, and argues that it is a business, rather than a pleasure. In essence, the Victorian institution of marriage is often hypocritical in that it portrays an image of money and legality, which denies the supposed moral pleasure of loving commitment. The opening First Act presents the conflict of pleasure and business in relation to marriage, as Algernon and his butler Lane discuss the topic of morality in marriage."
