美國文學(xué)-戲劇-American-Drama課件

AmericanDramaDrama,literatureintendedforperformance,writtenbyAmericansintheEnglishlanguage.AmericanDramaDrama,literatur1AmericandramabeginsintheAmericancoloniesinthe17thcenturyandcontinuestothepresent.1.Britishinfluence:MostAmericanplaysofthe18thand19thcenturiesstronglyreflectedBritishinfluence.AmericandramabeginsintheA2AmericandramahadbeguntodivergefromBritishdramabythetimeofAndrewJackson’spresidency,from1828to1836.

Britishplays,whichtypicallyreflectedtheattitudesandmannersoftheupperclasses,werebytheninconflictwithmoreegalitarianAmericanvalues.BritishinfluencecontinuedandmostAmericanplayscopiedBritishmodelsuntiltheearly20thcentury.ForthisreasonsomecriticsclaimthatAmericandramawasnotbornuntiltheendof

WorldWarI(1914-1918).Americandramahadbeguntodi32.RealismdominatedAmericandrama:Bytheendofthe19thcenturyAmericandramawasmovingsteadilytowardrealism,illuminatingtheroughorseamysideoflifeandcreatingmorebelievablecharacters.Realismremainedthedominanttrendofthe20thcenturyinbothcomediesandtragedies.AmericandramaachievedinternationalrecognitionwiththepsychologicalrealismofplaysbyEugeneO’Neillandtheirsearinginvestigationofcharacters’innerlives.Asthecenturyadvanced,thenumberoftopicsconsideredsuitablefordramabroadenedtoencompassrace,gender,sexuality,anddeath.2.RealismdominatedAmerican4TheModernEra:The20thCenturyandBeyond

Realismcontinuedtobeaprimaryformofdramaticexpressioninthe20thcentury,evenasexperimentationinboththecontentandtheproductionofplaysbecameincreasinglyimportant.SuchrenownedAmericanplaywrightsasEugeneO’Neill,TennesseeWilliams,andArthurMillerreachedprofoundnewlevelsofpsychologicalrealism,commentingthroughindividualcharactersandtheirsituationsonthestateofAmericansocietyingeneral.TheModernEra:The20thCentu5Asthecenturyprogressed,themostpowerfuldramaspoketobroadsocialissues,suchascivilrightsandtheAIDScrisis,andtheindividual’spositioninrelationtothoseissues.IndividualperspectivesinmainstreamtheaterbecamefarmorediverseandmorecloselyreflectedtheincreasinglycomplexdemographicsofAmericansociety.Asthecenturyprogressed,the6FromWorldWarItoWorldWarII:1914-1939

WithWorldWarI,EuropeandevelopmentsinmoderndramaarrivedontheAmericanstageinforce.AhostofAmericanplaywrightswereintentonexperimentingwithdramaticstyleandformwhilealsowritingserioussociopoliticalcommentary.FromthistimeforwardBritain’sinfluence,althoughneverabsent,becamemuchlessimportanttoAmericandrama.FromWorldWarItoWorldWar7OneofthefirstgroupstopromotenewAmericandramawastheProvincetownPlayers,foundedin1915inProvincetown,Massachusetts.TheplayTrifles(1916)bySusanGlaspell,asubtlestudyinsexism,wasamongitsfirstproductions.ThecompanywasheadedbyGlaspell’shusband,GeorgeCramCook,butitsstarwasEugeneO’Neill,themostexperimentalofAmericanplaywrightsinthe1920s.Oneofthefirstgroupstopro8O’Neill’sTheHairyApe(1922)wasoneofthefirstplaystointroduceexpressionisminAmerica.Expressionismwasamovementinthevisual,literary,andperformingartsthatdevelopedinGermanyintheearly20thcentury,inpartinreactionagainstrealism.Expressionismemphasizedsubjectivefeelingsandemotionsratherthanadetailedorobjectivedepictionofreality.TheHairyApedepictsarejectedshiplaborer(stoker)whofeelshebelongsnowhereuntilheconfrontsanapeinazoo.Hesetsthecagedanimalfreeonlytobedestroyedbyit.O’Neill’sTheHairyApe(1922)9AmericanexpressionismwasdistinguishedfromitsGermanforebearsbyasearchingfocusontheinnerlifeofthecentralcharacter,whosedetaileddepictionisinstarkcontrasttoallothercharacters.ThemostfamousexampleofAmericanexpressionismisTheAddingMachine(1923)byElmerRice,aplaythatfocusesontheemotionaljourneyoftheleadingcharacter,Mr.Zero,afterheisreplacedathisjobbyanaddingmachine.Americanexpressionismwasdis10Ricewasthefirstplaywrighttodemonstratesilentfilm’sinfluenceontheaterinOnTrial(1914),whichborrowedtheflashbacktechnique.Someofthemostnovelexpressionistexperimentsemployedcollage-likesceniceffectsandcacophonousmusicalandsoundtechniquestoexploresocialissues.Ricewasthefirstplaywright11PostwarDrama:1945-1960DuringWorldWarII(1939-1945)littledramaofnoteappearedthatwasneitherescapistfarenorwartimepropaganda.Withtheendofhostilities,however,twoplaywrightsemergedwhowoulddominatedramaticactivityforthenext15yearsorso:ArthurMillerandTennesseeWilliams.Millercombinedrealisticcharactersandasocialagendawhilealsowritingmoderntragedy,mostnotablyinDeathofaSalesman

(1949),ataleofthelifeanddeathoftheordinaryworkingmanWillyLoman.Miller’sTheCrucible

(1953),astoryaboutthe17th-centurySalemwitchtrials,wasaparableforahuntforCommunistsinthe1950sledbySenatorJosephR.McCarthy.PostwarDrama:1945-1960During12TennesseeWilliams,oneofAmerica’smostlyricaldramatists,contributedmanyplaysaboutsocialmisfitsandoutsiders.InAStreetcarNamedDesire

(1947),aneurotic,impoverishedSouthernwomanfightstomaintainherillusionsofgentilitywhenforcedtoconfrontthetruthaboutherlifebyhersister’sworking-classhusband.Williams’sCatonaHotTinRoof

(1955),whichwonthePulitzerPrizefordrama,similarlyfocusedonpretenseanditsdestructivenessanddestructioninanunhappyfamily.GlassMenagerieTennesseeWilliams,oneofAme13EugeneO'Neill(1888-1953)unquestionablyAmerica'sgreatestplaywright.wonthePulitzerPrizefourtimestheonlydramatistevertowinaNobelPrize(1936).widelyacclaimed"founderoftheAmericandrama."EugeneO'Neill(1888-1953)unqu14HislifeandwritingcareerO'NeillwasborninNewYorkonOctober16,1888intoatheatricalfamily.HegrewupinNewLondon,Connecticut,andspenthisearlyyearswithhisparentsontheatricalroadtours.Hereceiveduniversityeducationforoneyearandlatertraveledallovertheworld.Heavidlyreadupondramaticliterature,andcultivatedaninterestinplaywriting.In1914,heattendedProfessorGeorgePierceBaker'sdramaworkshopatHarvard,wherehiscareerasadramatistbegan.Sincethen,O'Neillhadbeenwhollydedicatedtothemissionasadramatist.HislifeandwritingcareerO'N15HismajorplaysO'Neillwroteandpublishedaboutforty-nineplaysaltogetherofvariouslengths.1.Hewrotesomeone-actmelodramaticplaysatfirst,includingBoundEastforCardiff(1916),whichdescribesthedyingsailorYankandhisdreamaboutthesecurityandpeacewhichcouldneverexist.HismajorplaysO'Neillwrotea16firstfull-lengthplay,BeyondtheHorizon,madeagreathitandwonhimthefirstPulitzerPrize.exploreswhathappenswhentwomenlovethesamewomanandthecompromiseseachwillmaketohaveher.itsignaledachangeinAmericandrama.CriticsandaudiencesrespondedfavorablytoO’Neill’sdark,tragicvision,whichcontrastedsharplywiththeunrealistic,melodramaticplaysoftheday.TheplaydrewheavilyonO’Neill’sownexperiences,includinghistuberculosisandhisseavoyages.Duringoneoftheseseatrips,hemetaNorwegiansailorwhocriticizedhischoiceofgoingtoseaasopposedtostayingonhisfamily’sfarm.firstfull-lengthplay,Beyond17Takingthisideaasastartingpoint,O’Neillcraftedataleofmissedopportunitiesandfaileddreams,involvingtwobrothers.Robert,apoeticbutsicklydreamer,wantstogotoseatostrengthenhishealthandseetheworld.Hisbrother,Andrew,isabornfarmerwhowantsnothingmorethantoworkonhisfamily’sfarm.Becausetheylovethesamewoman,bothbrotherschoosetogoagainsttheirnatures.Robertstaysonthefarm,andAndrewgoestosea.Takingthisideaasastarting18Theme:thechoicebetweenlifeanddeath,theinteractionofsubjectiveandobjectivefactors

ThisthemeisdramatizedmoreexplicitlyinTheStraw(1921)andAnnaChristie(1921).AnnaChristieismoreofasuccessbecauseitdeploysthedevelopingcomplexityofO'Neill'spersonalvision,showingusthatlifeisaclosedcircleofpossibilitiesfromwhichitisimpossibletoescape.Theme:thechoicebetweenlife19Between1920and1924camehisprominentachievementsinsymbolicexpressionism:TheEmperorJones(1920)TheHairyApe(1922),AllGod'sChildrenGotWings(1924)DesireUndertheElms(1924)Between1920and1924camehis20Theseplaysaredaringforaysintoracerelations,classconflicts,sexualbondage,socialcritiques,andAmericantragediesontheGreekmodel.Whatismore,theexpressionistictechniquesareusedintheseplaystohighlightthetheatricaleffectoftherupturebetweenthetwosidesofanindividualhumanbeing,theprivateandthepublic.Builtonthesuccessoftheseexpressionisticexperimentations,O'Neillreachedouttoextendhismasteryofthestageandworkeduptothesummitofhiscareer.Theseplaysaredaringforays21TheHairyApeCharactersseekmeaningandpurposeintheirlivesthroughloveorreligionorrevenge.Theresultisdisappointmentordespair.UsesExpressionismTheHairyApeconcernstheproblemofmodernman‘sposition.Yank‘ssenseofbelongingnowhereisatypicalofthemoodofisolationandalienationintheearlytwentiethcenturyintheUSandthewholeworldaswell.TheHairyApeCharactersseekm22Heconcernedhimselfwithsomenon-realisticformstocontainhistragicvisioninanumberofhisplays,suchasTheGreatGodBrown(l926),whichfusessymbolism,poetry,andtheaffirmationofapaganidealismtoshowhowmaterialisticcivilizationdeniesthelife--givingimpulsesanddestroysthegenuineartist,andLazarusLaughed(1927),whichmakesfulluseoftheBible,Greekchoruses,Elizabethantirades,expressionistmasks,populouscrowdscenes,andorchestratelaughter.Heconcernedhimselfwithsome23WiththewinningofthethirdPulitzerPrizeforStrangeInterlude(l928),O'NeillconsolidatedhisexperienceoftwodecadesofplaywritingandpavedthewaytothehonoroftheNobelPrizein1936.Withthewinningofthethird24Lateinhislife,heproducedthebestandgreatestplaysofthemodernAmericantheater.TheIcemanCometh(l946)provestobeamasterpieceinthewayitisacomplex,ironic,deeplymovingexplorationofhumanexistence,writtenoutofaprofoundinsightintohumannatureandconstructedwithtremendousskillandlogic.LongDay'sJourneyIntoNight(1956)canbereadautobiographically.Lateinhislife,heproduced25Theactioncoversafateful,heart-rendingdayfromaround8:30a.m.tomidnight,inAugust1912attheseasideConnecticuthomeoftheTyrones-theautobiographicalrepresentationsofO'Neillhimself,hisolderbrother,andtheirparentsattheirhome,MonteCristoCottage.Thethemeoftheplayisaddictionandthedysfunctionofthefamily.AllthreemalesarealcoholicandMaryisaddictedtomorphine.Theyallconstantlyconceal,blame,resent,regret,accuseanddenyinanescalatingcycleofconflictwithoccasionaldesperateandhalfsincereattemptsataffection,encouragementandconsolation.Theactioncoversafateful,h26JamesTyroneThehusbandofMaryandthefatherofJamieandEdmund,hewasonceafamousactorwhotouredtheU.S.withhiswife.BecausehisIrishfatherabandonedhimatage10,forcinghimtoworkimmediatelytosupporthimself,hehasastrongworkethicandanappreciationformoneythatleadstostrongfinancialprudence--borderingonstinginess.JamesTyroneThehusbandofM27MaryTyrone

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ThewifeofTyroneandmotherofJamieandEdmund,shestrugglesfromamorphineaddictionthathaslastedovertwodecades.Whileshehasbrokentheaddictionseveraltimes,shealwaysresumeshermorphineuseafterspendingmoretimewithherfamily.Sheisonmorphineineachsceneoftheplay,andheruseincreasessteadilyasthedaywearson.AlthoughshelovesTyrone,sheoftentimesregretsmarryinghimbecauseofthedreamsshehadtosacrificeofbecominganunoraconcertpianist.MaryTyrone

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ThewifeofTyr28JamieTyrone

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TheelderTyroneson,heisinhisearlythirties.Becausehesquandersmoneyonboozeandwomen,hehastorelyonhisparentsforsupport.Hedroppedoutofseveralcollegesandhasverylittleambition,muchtothedismayofhisparents.JamieTyrone

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TheelderTyr29EdmundTyrone

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TheyoungerTyroneson,heistenyearsyoungerthanJamie.Anintellectualandromanticdreamer,helearnsduringtheplaythatheisafflictedwithconsumption(tuberculosis),whichmeansthathewillhavetospenduptoayearinasanatorium.Likehisbrotherandfather,heispartiallyalcoholic,andhehasatendencytosquandermoney,althoughheworksharderthanJamie.Maryalwaysholdsouthopethathewillbecomeasuccessoneday.EdmundTyrone

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TheyoungerT30However,likemostgreatworksofliterature,theplayreachesbeyonditsimmediatesubject,dedicatednotonlytothelifeoftheAmericanfamily,butalso"tothelifeofMan,toLifeitself."Asaproductofhard-wonart,LongDay'sJourneyIntoNighthasgaineditsstatusasaworldclassicandsimultaneouslymarkstheclimaxofO'Neill'sliterarycareerandthecomingofageofAmericandrama.However,likemostgreatworks31ThemesO'Neillisalwaysrememberedforhistragicviewoflifeandmostofhisplaysdealwiththebasicissuesofhumanexistenceandpredicament:lifeanddeath,illusionanddisillusion,alienationandcommunication,dreamandreality,selfandsociety,desireandfrustration,etc.Hischaractersintheplaysaredescribedasseekingmeaningandpurposeintheirlivesindifferentways,somethroughlove,somethroughreligion,othersthroughrevenge,butallmeetdisappointmentanddespair.ThemesO'Neillisalwaysrememb32Asaplaywright,O'Neillhimselfwasconstantlywrestlingwiththeseissuesandstrugglingwiththeperplexityaboutthetruthoflife.Hewassearchingforananswerbothpsychologicallyandartistically,andhisdramaticthoughtfollowedatragicpatternrunningthroughallhisplays,fromacelebrationandexaltationof"pipedreams,"theromanticdreamsotospeak,tothedoubtabouttherealityofthedreamortheinevitabilityofthedefeat.So,hisfinaldramasbecame"transcendental,"inthewaythatthedramatizationofman'seffortinfindingthesecretofliferesultsinareconciliationwiththetragicimpossibility.Asaplaywright,O'Neillhimse33Apipedreamisafantastichopeorplanthatisgenerallyregardedasbeingnearlyimpossibletoachieve.Apipedreamisafantasticho34O'Neill'sexperimentationsindramaticartO'Neill'sinventivenessseeminglyknewnolimits.Hewasconstantlyexperimentingwithnewstylesandformsforhisplays.(1)HeintroducedtherealisticoreventhenaturalisticaspectoflifeintotheAmericantheater.HeborrowedfreelyfromthebesttraditionsofEuropeandramas,beitGreektragedies,ortherealismofIbsen,ortheexpressionismofStringberg,andfusedthemintotheorganicofhisown.Inthoseexpressionisticplays,abstractandsymbolicstagesetsareusedtosetoffagainsttheemotionalinnerselvesandsubjectivestatesofmind;lightingandmusicareemployedtoconveythechangesofmood.O'Neill'sexperimentationsin35(2)Heborrowedfreelyfrommodernliterarytechniquessuchasthestream-of-consciousnessdevicewiththehelpofwhichhemanagedtorevealtheemotionalandpsychologicalcomplexitiesofmodernman.Hemadeuseofsettingandstagepropertytohelpinhisdramaticrepresentation(2)Heborrowedfreelyfrommo36(3)Astohislanguage,O'Neillfrequentlywrotethelinesindialect,orspelledwordsinwayswhichindicateaparticularaccentormannerofspeech.This,sometimes,makeshisplaysdifficulttoread,butwhentheyarespokenaloud,thesensebecomesclearandthemeaningisamplifiedbytheaccent.O'Neill'sceaselessexperimentationenrichedAmericandramaandinfluencedlaterplaywrights.(3)Astohislanguage,O'Neil37ExpressionismItisusedtodescribetheworksofartandliteratureinwhichtherepresentationofrealityisdistortedtocommunicateaninnervision,transformingnatureratherthanimitatingit.Inliteratureitisoftenconsideredarevoltagainstrealismandnaturalism,aseekingtoachieveapsychologicalorspiritualrealityratherthantorecordexternalevents.ExpressionismItisusedtodes38Indrama,theexpressionistworkwascharacterizedbyabizarredistortionofreality.Expressionistwriters'concernwaswithgeneraltruthsratherthanwithparticularsituations,hencetheyexploredintheirplaysthepredicamentsofrepresentativesymbolictypesratherthanoffullydevelopedindividualizedcharacters.Emphasiswaslaidontheinternal,onanindividual'smentalstate-theemotionalcontent,thesubjectivereactionsofcharacters,andsymbolicorabstractrepresentationsofreality;hencetheimitationoflifeisreplacedinExpressionistdramabytheecstaticevocationofstatesofmind.Indrama,theexpressionistwo39InAmerica,EugeneO'Neill'sEmperorJones,TheHairyApe,etc.aretypicalplaysthatemployExpressionismtohighlightthetheatricaleffectoftherupturebetweenthetwosidesofanindividualhumanbeing,theprivateandthepublic.Themovement,thoughshort-lived,gaveimpetustoafreeformofwritingandoftheatricalproduction.InAmerica,EugeneO'Neill'sE40SelectedReading:DesireUndertheElms

publishedin1924,nowconsideredanAmericanclassic.In1958,afilmversionwasproduced.AlongwithMourningBecomesElectra,itrepresentsoneofO'Neill'sattemptstoplaceplotelementsandthemesofGreekTragedyinaruralNewEnglandsetting.SelectedReading:DesireUnder41Characters

EphraimCabot

Simeon

Peter-hissons

Eben

AbbiePutnam

YoungGirl,TwoFarmers,TheFiddler,ASheriff,andotherfolkfromtheneighboringfarmsCharacters

EphraimCabot

42Synopsis

Setin1930’sruralAmerica.Itdelvesintotheeternalstruggleofmanversushimself.EphraimCabothasthreesons,twofromhisfirstmarriage(SimeonandPeter)andonefromhissecondmarriage(Eben).Allthreeliveonthefamilyfarm,toilonthefamilyfarmanddesiretoownthefamilyfarm.ThecommonalitybetweenSimeon,PeterandEbenistheirresentmentfortheirfather.Synopsis

Setin1930’sruralA43EphraimabandonshisNewEnglandfarmtohisthreesons,whohatehimbutsharehisgreed.Eben,theyoungestandbrightestsibling,feelsthefarmishisbirthright,asitoriginallybelongedtohismother.Hebuysouthishalf-brothers'sharesofthefarmwithmoneystolenfromhisfather,andPeterandSimeonheadofftoCaliforniatoseektheirfortune.EphraimabandonshisNewEngla44Later,Ephraimreturnswithanewwife,thebeautifulandheadstrongAbbie,whoentersintoanadulterousaffairwithEben.Soonafter,AbbiebearsEben'schild,butletsEphraimbelievethatthechildishis,inthehopesofsecuringherfuturewiththefarm.TheproudEphraimisobliviousashisneighborsopenlymockhimasacuckold.MadlyinlovewithEbenandfearfulitwouldbecomeanobstacletotheirrelationship,Abbiekillstheinfant.AnenragedanddistraughtEbenturnsAbbieovertothesheriff,butnotbeforeadmittingtohimselfthedepthsofhisloveforherandthusconfessinghisownroleintheinfanticide.Later,Ephraimreturnswitha45Thelandintheplayisthecentraltheme,itholdsalloftheelementsoftheplaytogether.Itwastheobjectofgreedaswell.Thefarmwasthesourceofgreedforthreeofthecharactersintheplay,EphraimCabot,hissonEben,andhisnewwifeAbbie.PeterandSimeonfocusedtheirgreedonthefieldsofgoldintheWest,primarilyinCalifornia.Thelandintheplayisthece46ArthurMiller(1915-2005)IntroductiontoArthurMillerIntroductiontoDeathofaSalesmanIntroductiontothemaincharacterWillyLomanThetypicalthemeofArthurMiller’splaysArthurMiller(1915-2005)Intro47ArthurMiller(1915-2005)borninNewYorkCityonOctober17,1915.inamiddleclassJewishfamily.Hisfatherhadbeenaprosperousclothingmanufacturerwhowas,however,ruinedbythecrashofthe1929.finishedhighschoolduringtheDepressionwhenhisfamilysuddenlybecamepoor.wenttoworkinawarehousewherehesawtheinjusticesofthecapitalistsystemandthehardshipsofworkers.ArthurMiller(1915-2005)born48savedenoughmoneytostudyjournalismattheUniversityofMichigan.beganwritingplays.wonaHopwoodAwardinDramaforhisfirstplayentitled“HonorsatDawn.”graduatedfromtheuniversityin1938.Thenhewroteadozen(unpublished)playsbeforehisfirstBroadwayproductionin1944-TheManWhoHadAlltheLuck.savedenoughmoneytostudyjo49WiththesuccessofAllMySonsin1947,hedevotedhimselfentirelytodrama.In1949,MillerwroteDeathofaSalesman,whichwonthePulitzerPrizeandtransformedMillerintoanationalsensation.Critics:thefirstgreatAmericantragedy,andMillerasamanwhounderstoodthedeepessenceoftheUnitedStates.WiththesuccessofAllMySon50Thisisthestoryofatravelingsalesman-ametaphorforAmericansociety-whochoosesfameandwealthasthefalsegoalsforhislifeandisfinallydriventosuicide.ThisplaynotonlywonhimsixawardsbutalsowonhimreputationasoneofthebestAmericandramatistsaftertheWar.Thisisthestoryofatraveli51ArthurMillerwassummonedbytheHouseUn-AmericanActivitiesCommitteeforquestioningonhispoliticalviews,butherefusedtocooperate.Thisbitterexperienceofthe“McCarthyEra”ledhimtowriteTheCrucible(1953),aplayabouttheSalemwitchtrialsinMassachusettsin1692wheninnocentpeoplewereforcedtomakeconfessionsandbetraytheirfriendsortobeexecuted.ThisisobviouslyaparableoftheMcCarthyiteanti-communist“witchhunt.”Inthisplay,Millertriestoshowthatsocialeviliscausedbyindividualswhodonottakeresponsibilityfortheworldtheylivein.ArthurMillerwassummonedby52Millerhaspublishedabout20plays,onenovel,someshortstories,sometravelbooks,andavolumeofessaysaboutthetheater.Asaplaywrightwhowritesonbroadsocialthemes,heisoftenregardedasoneofthegiantsoftheAmericandramaafterthewar.wontheNewYorkDramaCriticsCircleAwardtwice,andhisBrokenGlass(1993)wontheOlivierAwardforBestPlayoftheLondonSeason.MarriagetoMarilynMonroeMillerhaspublishedabout2053DeathofaSalesmanMiller'smostfamouswork,addressesthepainfulconflictswithinonefamily,butitalsotackleslargerissuesregardingAducedandpublishedin1949,wonaPulitzerPrize.TheplayexaminesthecostofblindfaithintheAmericanDream.MillerchargesAmericawithsellingafalsemythconstructedaroundacapitalistmaterialismnurturedbythepostwareconomy,amaterialismthatobscuredthepersonaltruthandmoralvisionoftheoriginalAmericanDreamdescribedbythecountry'sfounders.DeathofaSalesmanMiller'smo54WillyLoman,abewildered,well-intentioned,unsuccessfultravelingsalesmanaged63,ispleasedbythehomereturnvisitofhissonsBiffandHappy,buttheyareupsetbyhispeculiarbehaviorandhallucinatoryconversationswithfiguresofahappierpast,andtheyworryabouttheeffectonLinda,theircompassionatemother,wholovesherhusbandandrecognizesthathisactionsstemfromthedisparityofhis“massivedreams”andadisappointingreality.WillyLoman,abewildered,wel55Wantingdesperatelytobesuccessfulandwellliked,WillyhadfallenvictimtothefalsevaluesofsocietyandcannotcopewithhisfailureorthatofBiff,onceahigh-schoolfootballhero,nowmoodyandjobless.LindapersuadesBifftotryforagoodjobtomakehisfatherproud,butwhen,withHappy,hemeetshisfatherintherestaurantwheretheyintendtotreathimtoacelebrationdinner,Bifftellsthetruthabouthisill-fatedappointmentanddestroysWilly’shopes.InconfusionWillygoestothewashroomandrelivestheawfultimewhenBiff,desperatelyneedinghishelp,traveledtoBoston,wherehediscoveredhimwithhismistress.Wantingdesperatelytobesucc56RealizinghisresponsibilityforBiff’saimlessnessanddisillusionment,Willystumblesbacktothetable,onlytofindthattheboyshavedesertedhimfortwochippies.Humiliatedandstunned,hereturnshome,fightswithBiff,andthenistouchedbyBiff’stearsofconcernandlove.InafinalhallucinatorytalkwithhisbrotherBen,asuccessfulself-mademan,WillydecidesonsuicidetoprovideBiffwithinsurancemoney.Atthefuneral,whichnoneofhisbusinessacquaintancesattend,afriendpointsout“Willywasasalesman…aman...ridingonasmileandashoeshine….Nobodydastblamethisman.Asalesmanisgottodream,boy.Itcomeswiththeterritory.”Realizinghisresponsibilityf57CharactersWillyLoman

AtravelingsalesmanwhohasworkedfortheWagnerfirmforthirty-fouryears.Heisnowinhissixtiesandhasbeentakenoffsalaryandputbackonstraightcommission.LindaLoman

HiswifewholovesWillyinspiteofallhisdifficulties.BiffLoman

Theoldestsonwhowasonceastarfootballplayerinhighschoolwithseveralscholarships,butwhoforthelastfourteenyearshasbeen“unabletofindhimself.”Hehasjustreturnedfromsomewhereinthewest.HappyLoman

Theyoungersonwhoworksinadepartmentstoreandhashisownapartmentinanothersectionoftown.Characters58ThemaincharacterWillyLoman

WillyLoman,thesalesmanofthetitle,isas“phony”asMarkTwain’sColonelSellersbutmorehard-workingandhonest;heisastragicasFitzgerald’sGreatGatsbybutnotassuccessfuland“great”.Thoughliving“inaroughworld”wheremoderncivilizationissuffocating,Willyneverseemstobeawareofthatandkeepsondreamingofsuccessan