An Analysis Of Leading Character’s Conflict In Arthur Miller’s Death Of Salesman

AN ANALYSIS OF LEADING CHARACTER’S CONFLICT IN ARTHUR MILLER’S DEATH OF SALESMAN

A THESIS

BY:

EVA JULIANI MUNTHE REG. NO 070705024

UNIVERSITY OF SUMATERA UTARA FACULTY OF LETTERS

ENGLISH LITERATURE DEPARTMENT MEDAN

TABLE OF CONTENTS

ACKNOWLEDGEMENTS

ABSTRACT

TABLE OF CONTENTS

CHAPTER I INTRODUCTION

1.1The Background of Analysis ... .1

1.2The Statement of Problem ... .3

1.3The Objective of Analysis ... .3

1.4The Scope of Analysis ... .3

1.5The Significance of Analysis ... .4

1.6The Theoritical Approach ... .4

1.7The Theoritical Review... .5

1.8Review To Related Literature ... .6

CHAPTER II METHOD OF ANALYSIS 2.1 Data Collecting... .7

2.2 Data Selecting ... .7

2.3 Data Analyzing... .8

CHAPTER III A BRIEF DESCRIPTION OF CONFLICT 3.1 The Relationship between Plot and Conflict... .9

3.2 The Definition and Types of Conflict ... .11

CHAPTER IV THE ANALYSIS OF LEADING CHARACTER’S CONFLICT ... .13

CHAPTER V CONCLUSIONS AND SUGGESTIONS 5.1 Conclusions ... 43 5.2 Suggestions ... 45 BIBLIOGRAPHY

Acknowledgement

First of all, I would like to say my special thanks to our almighty God, for all of His love, kindness and blessings that has given to me, so I can finish my thesis. Without Him I can not do anything. He has given me strength to face all of the things in my life.

I would like to thank Dean of Faculty of Letters Dr. Drs. Syahron Lubis, M.A. the head of English Departement Dr. Drs. H. Muhizar Muchtar, M.S. and the secretary of English Department Dr. Dra. Nurlela, M. Hum. I would like to thank to my Academic Advisor Dra. Swesana Mardia Lubis, M. Hum and all of the lecturers of English Department who has given me valuable knowledge during the years.

I also want to dedicate my gratitude and much appreciation to my supervisor, Dra. Martha Pardede, M.S. and my co – supervisor Drs. Siamir Marulafau for their guidance, immense time, knowledge, suggestions, patience and all the correction in accomplishing my thesis. May God bless you all.

My special thanks and deepest appreciation to all my beloved family, my beloved mother, L.E Purba, thanks for your love, your pray and your support that you have given to me. I love you so much, you are the greatest mom in this world. My lovely father, J.A Munthe, thanks for all your advice and your support. I love you all, and I dedicate this to you all. My dear brother, Leonard Septian Munthe, thank you for your support all the time, I love you so much. Special thanks also to all my aunts, my uncle, my cousins, my grandma and all my family members who always pray for me. I do love you all.

I also would like to say thanks to Bang Am, for all your help and to all my classmate in badge 2007, especially Debora, Dedew, Liu, Evy, Nde, Beth, Pitho, Mya, Citra, thanks for all you support and all the crazy things that we have passed, I’m gonna miss that moment guys. To all my friends in “Famz In Christ”, Ethaq, Anna, Ayaki and my lovely sister Shera, thanks for all your support and your kindness. To all my sisters Nita, Helga, Lina and Vero, thanks for your pray and your kindness, I love you all. To all my friends in KMK, Ester, Melita, Pesta, Johenro, Dortama, for your pray and support that make me strong.

Last but not the least, for all of my friends and people who know me. I’m truly sorry because I cannot write your names but I hope you always know that you are always in my heart, may God bless you all. Thank you very much.

Medan, March 2011 The writer,

ABSTRAK

Skripsi ini berjudul “An Analysis of the Leading Character’s Conflict in Arthur Miller’s Death of Salesman”. Analisis ini mengenai konflik baik proses bagaimana terjadinya konflik yang terdapat pada drama karangan Arthur Miller yang berjudul Death of Salesman. Di dalam skripsi ini saya ingin menunjukkan mengapa konflik itu terjadi dan bagaimana perkembangan konflik yang ada dalam drama ini. Adapun metode yang digunakan dalam penulisan skripsi ini adalah metode analisis deskriptif. Hal ini dapat saya buktikan dengan menganalisis proses konflik yang terdapat dalam drama Death of Salesman.

ABSTRAK

Skripsi ini berjudul “An Analysis of the Leading Character’s Conflict in Arthur Miller’s Death of Salesman”. Analisis ini mengenai konflik baik proses bagaimana terjadinya konflik yang terdapat pada drama karangan Arthur Miller yang berjudul Death of Salesman. Di dalam skripsi ini saya ingin menunjukkan mengapa konflik itu terjadi dan bagaimana perkembangan konflik yang ada dalam drama ini. Adapun metode yang digunakan dalam penulisan skripsi ini adalah metode analisis deskriptif. Hal ini dapat saya buktikan dengan menganalisis proses konflik yang terdapat dalam drama Death of Salesman.

CHAPTER I

INTRODUCTION I.1 Background of Analysis

Death of a Salesman is an American drama written by Arthur Miller. Death of a Salesman was published in 1949 and it was written in six weeks. This drama tells us about the American ideal of business success. There are some characters in this drama; they are Willy Loman, Linda, Biff, Happy, Bernard, The Woman, Charley, Uncle Been, Howard Wagner, Jenny, Stanley, Miss Forshyte and Letta. The main character in this drama is Willy Loman. This drama tells us about a life of a salesman named Willy Loman, who has a high desire to reach the success. This drama belongs to tragic drama. It ends with Willy unable to face the deceptions he has perpetuated and finnally he commits suicide.

In this drama we see the ambition of the leading character, Willy Loman, to be a rich man. Even he forces his son to be like him. For Willy, having much money and good appearance are everything. And many people around him do not agree with his statement, include his son Biff.

I choose Death of Salesman to be analyzed because this drama is very interesting. This drama is dominated by conflict between one character to another character. As we know conflict is the part of the basic elements of drama. Roberts and Jacobs (1995: 1020) say that the mainspring of plot in a drama is conflict, which can be physical, psychological, and social. Conflict also can involve a character’s struggle against another person, against the environment, or against himself or herself and conflict is very important, because conflict needed to move the plot. Without conflict there will be no movement of the order of plot in a

drama. Based on these explanations, I will analyze the existence of conflict in Death of a Salesman.

Drama itself belongs to literature. We must know what literature is. Literature has been widely known in the world. The word literature derives from the Latin ‘littera’ which means letter, which primarily refers to the written or printed words. Actually literature has a large meaning; it does not only refer to the written, but also to the oral works. Literature also means the letter which expresses the feeling, attitude and the life of human in society. There are some characteristics of literature, the first literature is permanent, the second literature is artistic, it means that we can find art and aesthetic sides in literature. A literary work is made to be enjoyed, understood and used by the people. Edgar V. Roberts and Henry E. Jacobs (1995: 1) also say that literature refers to compositions that tell stories, dramatize situations, express emotions, and analyze and advocate ideas. However, Renne Wellek and Austin Warren in their book say that the term literature seems best if we limit it to the art of literature that is to imaginative literature.

At this present time there are three kinds of literature which widely known in this world, they are Drama, Poetry and Prose. The word ‘drama’ derives from the Greek word ‘dran’ which means ‘to do, to act’. Drama is also the kind of literature which designed to be performed by the actors on the stage. The origin word of ‘poetry’ is the Greek word ‘poiema’ which means something made or fashioned (in words) and the person who writes the poetry is called a poet. Prose is an ordinary form of spoken and written language. Edgar and Henry in their book, Literature: An Introduction To Reading and Writing, mention that prose is

divided in to two, they are the prose fiction or narrative fiction and the nonfiction prose. The prose fiction includes myths, parables, romances, novels and short stories, while nonfiction prose include new reports, feature articles, essays, textbooks and etc.

I.2 Statement of Problem

The drama Death of Salesman is a drama which dominated by conflict, most characters in this drama experience conflict. In this thesis I want to analyze conflict that experienced by the leading character, the root of conflict and the growth of conflict. Then, I formulate the question to answer:

1. What is the root of conflict? 2. How is the growth of conflict? I.3 The Objective of Analysis

Based on the statement of the problem, I also make the objective of analysis to answer the questions above. The objectives of analysis are:

1. To show the root of conflict. 2. To explain the growth of conflict. I.4 The Scope of Analysis

In this thesis, I analyse the leading character’s conflict and I want to make the limitation in order to make the analysis becomes more specific and does not go far from the topic. In this thesis, my analysis will focus on the leading character and the conflict that experienced by him.

The analysis of this thesis is expected to give significance to the readers generally and especially for me. The expected significances are:

1. This thesis will give information and add the reader’s knowledge about conflict.

2. This thesis can be the reference for those who want to analyze conflict. 3. This thesis will show the root of conflict and the growth of conflict in

Death of Salesman.

I.6 The Theoretical Approach

Rene Wellek and Austin Warren (1967: 73, 81, 110) in their book, Theory of Literature mention two approaches in analyzing literary works; they are intrinsic approach and extrinsic approach. The intrinsic approach is also called the textual analysis, because this approach analyses the literary work based on the text and the structural points of literary work like characters, plot, setting, theme, style, and point of view. While the extrinsic approach is the approach which analyses the literary work and its relation with external factors like biography of the writer, the environment, society, history, psychology, and so on.

In analyzing the conflict, I use the extrinsic approach by connecting the story with the society in that time which brings effect to characters in this drama. I.7 Theoretical Review

Basically, there are some theories of literature, Imitative (mimetic) theory, expressive theory and pragmatic or affective theory and objective theory.

In imitative theory there are two important points that must be noticed. First, it is life which literature imitates or mirrors; in other words, the subject

matter of literature is a manifold experiences of living people. Second, the imitation of life is more than merely a copy of what is apparent to the eyes; in the sense that life should be reinterpreted and recreated. In this case the writer’s imaginative power and talent play important role so that he is able to create good literary works.

Expressive theory is a theory which is related to the writer. In this case we can see that the literature can be seen as the product of the poet, playwright, or novelist. It means that, the writer can express her or his thought and inspiration through his literary works.

Pragmatic literature has a relationship with the reader of a literary work. It is called pragmatic because it has to do with practical result and it can bring an effect to the audience.

Objective theory focuses on literary work itself, its language, forms, and devices. This kind of theory declines the relationship among literary work, historical aspects, sociological aspects, cultural aspects, and biographical aspects.

In analyzing this drama, I use objective theory, because I focus on literary work itself.

I also use the theory of conflict. Theory of conflict is the theory which sees that social change does not occur by values argument which brings changes, but it occurs because of the conflict which makes the different compromise with the first condition. This theory based on the tools of products as the main factor in dividing class in society. Actually, this theory is influenced by Karl Marx’s idea about class and the struggle (quoted from id.wikipedia.org/wiki/Teori_konflik). I use this theory, because I want to analyze the tension of conflict happened

between the characters. For example, the conflict between Willy Loman and his son, Biff. In analyzing this thesis I use Lewis Coser’s theory of conflict. He divided conflict into two terms, they are realistic conflict and non realistic conflict.

I.8 Review of Related Literature

To support the writing of this thesis, I use the thesis of Miranda Siregar which titled The Conflict of The Characters in Mark Twain Novel The Adventure of Tom Sawyer (2008). This thesis explain about the types of conflict and this thesis alsi briefly explain that conflict related to plot. So, I can apply it in analyzing my thesis.

CHAPTER II

METHOD OF ANALYSIS

In the analysis of conflict in Arthur Miller’s Death of Salesman, I use the library research. I collect data from related books and other literature that can be related to the topic that I analyzed. The books are related to conflict written by some scholars. In doing this thesis, I use some steps as follows:

II.1 Data Collecting Procedure.

The primary source of the data is the text itself. First of all, I read the play to understand the story and to find out the important information about the leading character, for example how the leading character interact with other characters. I analyze the leading character based on the dialogues. And then I underline the important information from the play. Not only the play, I also use some books and several other resources as references related to the topic that I analyzed.

II.2 Data Selecting Procedure.

The second step is data selecting. All information that I have got from thhe sources are being selected. Only the very significant data are used in the process of doing this thesis.

The last step is data analyzing. All selected data are being analyzed to prove what are being written in the objective of this thesis and finally I can draw the conclusion for this thesis.

CHAPTER III

A BRIEF DESCRIPTION OF CONFLICT 3.1The Relationship between Plot and Conflict.

Actually conflict belongs to one of the basic elements of drama. As I told in chapter I, conflict is the part of plot. Plot is an ordered chain of physical, emotional, or intellectual events that ties the action together. It is a planned sequence of interrelated actions that begins in a state of imbalance, grows out of conflict, reaches a peak of complication and resolves into some new situation. Plot has some forms of structure depending on how the events and incidents are arranged or problems are displayed. Some common forms of plot structure are straight line construction, episodic construction and pyramidal construction.

Straight line construction is the simplest form. In this form Aristolle’s formula that plot should have a beginning, middle and an end is applied completely. Episodic construction is the plot where incidents and problems are described separately in the form of episodes. The separated episodes are to be united later. Consequently, there may exist a double plot or only secondary plot or subplot. The third form is pyramidal construction, this form of plot is commonly applied to drama, but it also applicable to prose work. The structure of this plot can be divided into some parts they are exposition, complication, crisis or climax, falling action and resolution.

Exposition is a complete and detailed analysis of a work literature, often word by word and line by line. Complication is a stage of narrative and dramatic structure in which the major conflict is brought out or the rising action of a drama. Climax is the high point of conflict and tension preceding the resolution of a

drama, the point of decision, of inevitability and no return. The climax is sometimes merged with the crisis in the consideration of dramatic and narrative structure. Falling action or catastrophe is the turning downward of the dramatic plot, the fourth stage in the structure after the climax. The last stage is resolution, is the final stage of plot development, in which mysteries are explained, characters find their destinies, and the work is complete. The pyramidal construction can be shown in this diagram,

3

2

4

1

5

1. Exposition or introduction.

2. Complication or rising action. 3. Climax or crisis.

4. Falling action. 5. Conclusion.

From the explanation above, we can conclude that conflict is one of the important parts of plot because it can involve the character’s struggle against another person, against the environment, or against himself or herself. Most commonly, the conflict in a play is a combination of these general types. Conflict in drama can be more explicit than in prose fiction because we actually see the

clash of wills and characters on the stage or on the page. Conflict is needed to move the order of plot.

3.2 The Definition and Types of Conflict

Conflict is a struggle between opposing forces or the opposition between large groups of people, or between protagonist and larger forces such as natural objects, ideas, modes or behaviour, public opinion (Roberts and Jacobs 1995: 1694). Conflict is usually reflected or accompanied by the external and internal action. Conflict often forces characters to make a decision, to act or not to act, to behave according to a personal moral code or an external moral code, to compromise or to refuse , to grow and change or to remain more less or less the same. The point at which characters make this choice is usually the climactic moment of the story. The effects or implications of this choice usually represent the conclusion.

Conflict is also the opposition of two people. Their conflict may take the shape of envy, hatred, anger, argument, avoidance, gossip, lies, fighting, and many other forms and action. Conflict may also exist between groups, although conflict between individuas is more identifiable and therefore more suitable for stories. Conflict may also be brought out in ideas and opinions that may clash. In short, conflict shows itself in many ways.

Literary conflict includes internal conflict, also called man versus self conflict, and external conflict which includes man versus man, man versus nature, man versus society and man versus fate. The way conflict is used and how the conflicts are resolved are all determined by the type of story being told. Internal conflict is that which exists inside the character. Struggles with morality, fate,

desire and belief, to name a few. This form of conflict is central to the character or characters and must be resolved by the character alone. Every good character suffers from the weight of internal conflict; it lends them an air of complex believability. Internal conflict is also known as man versus self or person versus self. While internal conflict is necessary for good characters, it is the least complicated form of conflict.

External conflict deals with the problems of the world. The story's characters will struggle against the circumstances of external conflict, they may even suffer internal conflict resulting from the issues of external conflict, but this is not as simple as internal conflict. External conflict occurs when character's are involved in the world's woes, such issues as community, nature, government and other characters are all examples of external conflict. External conflict manifests itself as man versus man, man versus nature, man versus society.

Man versus man is the most fundamental type of external conflict. This form of external conflict occurs when a character struggles against another character. These struggles may be born from moral, religious or social differences and may be emotional, verbal or physical conflicts. Man versus man is almost always the conflict present when a hero fights a villain. This form of conflict may present alone, or in conjunction with other external conflicts. Man versus nature conflicts occur when characters, or characters, find themselves at odds with forces of nature. A character struck by lightning, characters whose boat sinks in a storm and a character who struggles against hypothermia in a snow storm are all characters experiencing man versus nature conflicts. Man versus society is the

form of conflict which often represented by a person who is an an outcast or by a character who tries to break the normal rules of the society that has established.

Lewis Coser says that conflict can be a process that is instrumental in the establishment, acquisition and maintenance of social structure. Conflict may place and maintain the boundary line between two or more groups. According to Coser conflict can be devided into two terms, they are, realistic conflict, comes from the disappointment of the special demands that occur in relationships and estimate the possible benefits of the participants, and which aimed at the object which is considered disappointing. And the second is Non-realistic conflict, conflict which are not derived from the goals of antagonistic rivals, but from the need to ease the tension, at least from one side.

But Coser says that if the conflict develops in intimate relationships, then the separation (between the realistic conflict and non-realistic) would be more difficult to maintain. (quoted from id.wikipedia.org/wiki/Teori_konflik).

CHAPTER IV

THE ANALYSIS OF LEADING CHARACTER’S CONFLICT IN ARTHUR MILLER’S DEATH OF SALESMAN

Willy Loman is a salesman, he is around sixty. He has two sons, their name are Biff Loman and Happy Loman. For Willy, having much money and good appearance are everything. Actually Willy Loman is a good father for his two sons Biff and Happy. He even doted on Biff and encoureged him to become a high school football star at the expense of his studies. But when Biff can not pass an important course, and when his plans to make up the work a re subverted by his disilusionment in his father, his dreams of a college football career are gone. He can not change, can not recover from this defeat.

A life of salesman has given Willy a sense of dignity and worth, and he imagines that the modern world has corrupted that sense by robbing salesman of the value of their personality. He thinks that the modern world life has failed him. But he is wrong, his original belief that what count is not what you know, but whom you know and how well you are liked lies at the heart is failure.

Conflict that experienced by Willy begins, when he can not do the travelling salesman’s job, because he can no longer drive to territory. He can not sell what he needs to sell. In that time his age is around sixty, while he has to make much money for his family.

Linda (hearing Willy outside the bedroom, calls with some trepidation): Willy!

Willy : It’s all right. I came back.

Linda : Why? What happened? (Slight pause.) Did something happen, Willy?

Willy : No, nothing happened.

Linda : You didn’t smash the car, did you?

Linda : Don’t you feel well?

Willy : I’m tired to the death. (The flute has faded away. He sits on the bed beside her, a little numb.) I couldn’t make it. I just couldn’t make it, Linda.

Linda (very carefully, delicately): Where were you all day? You look terrible.

Willy : I got as far as a little above Yonkers. I stopped for a cup of coffee. Maybe it was the coffee.

Linda : What?

Willy (after a pause): I suddenly couldn’t drive any more. The car kept going off onto the shoulder, y’know

Linda (helpfully): Oh. Maybe it was the steering again. I don’t think Angelo knows the Studebaker.

Willy : No, it’s me, it’s me. Suddenly I realize I’m goin’ sixty miles an hour and I don’t remember the last five minutes. I’m — I can’t seem to — keep my mind to it.

Linda : Maybe it’s your glasses. You never went for your new glasses. Willy : No, I see everything. I came back ten miles an hour. It took me

nearly four hours from Yonkers.

Linda (resigned): Well, you’ll just have to take a rest, Willy, you can’t continue this way.

Willy : I just got back from Florida.

Linda : But you didn’t rest your mind. Your mind is overactive, and the mind is what counts, dear.

Willy : I’ll start out in the morning. Maybe I’ll feel better in the morning. (She is taking off his shoes.) These goddam arch supports are killing me.

Linda : Take an aspirin. Should I get you an aspirin? It’ll soothe you. (Miller Act I, 1002)

When Willy was young, Willy had met a salesman named Dave Singleman who was so well – liked that he was able to make a living simply by staying in his hotel room and telephoning buyers. When Dave Singleman died, buyers and salesman from all over the country came to his funeral. This is what Willy has been trying to emulate his entire life.

Willy : Oh yeah, my father lived many years in Alaska. He was an adventurous man. We’ve got quite a little streak of self- reliance in our family. I thought I’d go out with my older brother and try to locate him, and maybe settle in the North with the old man. And I was almost decided to go, when I met salesman in Parker House. His name was Dave Singleman. And he was eighty – four years old, and he’d drummed merchandise in thirty-one states. And old Dave, he’d go up to his room, y’understand, put on his green velvet

slippers – I’ll never forget – and pick up his phone and call the buyers,a nd without ever leaving his room, at the age of eighty-four, he made his living. And when i saw that, I realized that selling was the greatest career a man could want.’Cause what could be more satisfying than to be able to go, at the age of eighty – four, into twenty or thirty different cities, and pick up a phone, and be remebered and loved and helped by so many different people? Do you know? When he died – and by the way he died the death of salesman, in his green velvet slippers in the smoker of the New York, New Haven and Hartford, going into Boston – when he died, hundreds of salesman and buyers were at his funeral. Things were sad on a lotta trains for months after that. (He stands up. Howard has not looked at him) In those days there was personality in it, Howard. There was repect, and comradership, and gratitude in it. Today, it’s all cut and dried, and there’s no chance for bringing friendship to bear – or personality. You see what I mean? They don’t know me any more.

(Miller, Act II, 1022 – 1023)

Willy’s concept of being succes is Willy’s concept of success is being well-liked. Willy believes that being well-liked and having a personal attractiveness, together, can bring success, money, and many friends. Willy builds his entire life around this idea and teaches it to his chlidren.

Willy : “…And they know me, boys, they know me up and down New England. The finest people. And when I bring you fellas up, there’ll be open sesame for all of us, ‘cause one thing, boys: I have friends. I can park my car in any street in New England, and the cops protect it like their own.

…Because the man who makes an appearance in the business world, the man who creates personal interest, is the man who gets ahead. Be liked and you will never want.”

(Miller, Act I :1008)

He even compares his children with Bernard, Charley’s son. Bernard is Biff’s friend. And Bernard is very smart. And for Willy, being success is not seen from how smart someone is, but it must be seen from how famous and how well-liked some one is.

Willy : Bernard is not well liked. Is he? Biff : He’s liked, but he’s not well liked. Happy : That’s right, Pop.

Willy : That’s just what I mean. Bernard can get the best marks in school, y’uderstand, but when he gets out in the business world, y’understand, you are going to be five times ahead of him. That’s why I thank Almighty God you’re both built like Adonises. Because the man who makes an appearance in the business world, the man who creates personal interest, is the man who gets ahead. Be liked and you will never want. You take me, for instance. I never have to wait in line to see a buyer. “Willy Loman is here!” That’s all they have to know, and I go right through.

(Miller, Act I, 1008)

Sometimes Willy’s need to feel well-liked is so strong that he often makes up lies about his popularity and success . At times, Willy even believes these lies himself. At one point in the play, Willy tells his family of how well-liked he is in all of his towns and how vital he is to New England.

Willy : Well, I got on the road, and I went north to Providence.Met the Mayor.

Biff : The Mayor of Providence! Willy : He was sitting in the hotel lobby. Biff : What’d he say?

Willy : He said, »Morning!« And I said, »You got a fine city here, Mayor.« And then he had coffee with me. And then I went to Waterbury. Waterbury is a fine city. Big clock city, the famous Waterbury clock. Sold a nice bill there. And then Boston — Boston is the cradle of the Revolution. A fine city. And a couple of other towns in Mass., and on to Portland and Bangor and straight home! Biff : Gee, I’d love to go with you sometime, Dad.

Willy : Soon as summer comes. Happy : Promise?

Willy : You and Hap and I, and I’ll show you all the towns. America is full of beautiful towns and fine, upstanding people. And they know me, boys, they know me up and down New England. And when I bring you fellas up, there’ll be open sesame for all of us, ‘cause one thing, boys: I have friends. I can park my car in any street in New England, and the cops protect it like their own. This summer, heh? Biff and Happy (together): Yeah! You bet! The finest people.

(Miller, Act I, 1008)

As a person who always pay attention to the appearance, Willy moans that he cannot move ahead because people do not seem to like him. Many people laugh at him during his journey, because he thinks that he becomes very ugly. He

is afraid of being old, and many people will not like him anymore. He will not able to earn much money for his family, because nobody notices him anymore. He tells it to Linda, but Linda tells him that he is successful enough. He explains that Charley earns respect because he is a man of few words. His jealousy of his neighbour becomes painfully clear. As Linda assures him that he is the handsomest man ever, Willy replies that she is his best friend in the world.

Willy : I don’t know the reason for it, but they just pass me by. I’m not noticed.

Linda : But you’re doing wonderful, dear. You’re making seventy to a hundred dollars a week.

Willy : But I gotta be at it ten, twelve hours a day. Other men — I don’t know — they do it easier. I don’t know why — I can’t stop myself — I talk too much. A man oughta come in with a few words. One thing about Charley. He’s a man of few words, and they respect him. Linda : You don’t talk too much, you’re just lively.

Willy (smiling): Well, I figure, what the hell, life is short, a couple of jokes. (To himself.) I joke too much (The smile goes.)

Linda: Why? You’re...

Willy : I’m fat. I’m very — foolish to look at, Linda. I didn’t tell you, but Christmas time I happened to be calling on F. H. Stewarts, and a salesman I know, as I was going in to see the buyer I heard him say something about — walrus. And I — I cracked him right across the face. I won’t take that. I simply will not take that. But they do laugh at me. I know that.

Linda: Darling...

Willy : I gotta overcome it. I know I gotta overcome it. I’m not dressing to advantage, maybe.

Linda : Willy, darling, you’re the handsomest man in the world... Willy : Oh, no, Linda.

Linda : To me you are. (Slight pause.) The handsomest. (Miller Act I, 1009)

Willy always feels very lonely. He has no friend to talk to. Willy Loman is a householder and he never tells Linda if he has problem. He even makes a relationship with a woman. Actually Willy just explot the girl. Willy uses The Woman as a tool to feel well – liked. Willy also uses The Woman as a means to get buyer more efficiently.

Willy : Cause I get so lonely — especially when business is bad and there’s nobody to talk to. I get the feeling that I’ll never sell anything again, that I won’t make a living for you, or a business, a business for the boys. (He talks through The Woman’s subsiding laughter; The Woman primps at the »mirror «.) There’s so much I want to make for...

The Woman : Me? You didn’t make me, Willy. I picked you. (Miller, Act I, 1011)

But his son, Biff, has known about this problem. Biff has seen his father with other woman in a room, when Biff wants to tell his father that he has flunked the important course. Willy tells Biff that the woman is a buyer. Willy also tells Biff that she’s nothing. But Willy gives her Linda’s stocking, and it makes Biff becomes very angry. Stocking is a symbol of betrayal and sexual infidelity. New stockings are important for both Willy’s pride in being financially successful and thus able to provide for his family.

Willy (after a pause) : Well, better get going. I want to get to the school first thing in the morning. Get my suits out of the closet. I’ll get my valise. (Biff remains motionless, tears falling) She’s a buyer. Buys for J.H. Simmons. She lives down the hall – they’re painting. You don’t imagine – (He breaks off. After a pause) Now, listen, pal, she’s just a buyer. She sees mercahndise in her room and they have to keep it looking just so ... (pause. Assuming command) All right, get my suits. (Biff doesn’t move.) Now stop crying and do as I say. I gave you an order. Biff, I gave you an order! Is that what you do when I give you an order? How dare you cry! (Putting his arm arround Biff.) Now look, Biff, when you grow up You’ll understand about these things. You mustn’t – you mustn’t over emphasize a thing like this. I’ll see Birmbaum first thing in the morning.

Biff : Never mind.

Willy (getting down beside Biff) : Never mind! He’s going to give you those points. I’ll see to it.

Biff : He wouldn’t listen to you.

Willy : He certainly will listen to me. You need those points for the U. of Virginia.

Biff : I’m not going there.

Willy : Heh? If I can get him to change that mark you’ll make it up in summer school. You’ve got all summer to –

Biff (his weeping breaking from him): Dad ... Willy (infected by it): Oh, my boy...

Biff : Dad..

Willy : She’s nothing to me, Biff. I was lonely, I was terribly lonely. Biff : You – you gave her Mama’s stockings! (His tears break through

and he rises to go)

Willy (grabbing for Biff) : I gave you an order. Biff : Don’t touch me, you – liar!

Willy : Apologize for that!

Biff : You fake! You phony little fake! You fake! (Overcome, he turns quickly and weeing fully goes out with his suitcase. Willy is left on the floor on his knees.)

Willy : I give you an order! Biff, come back here or I’ll beat you! Come back here! I’ll whip you!

(Miller, Act II, 1034 – 1035)

Deciding that he is too old, Willy asks his sons to make money for their family. Willy asks Biff to make thirty – five dollars a week for his family. But Biff is failed to do that. In the age of thirty four Biff can not make money like Willy asks him to do. Willy is very dissapointed with Biff, because Biff can get a better job. He even says that Biff Loman is lazy. Willy thinks that Biff never wants to get a better job for his family, because after ten years Biff can not make even fifty – five dollars a week.

Linda : But, dear, how could he make any money?

Willy (worried and angered) : There’s such an undercurrent in him. He became a moody man. Did he apologize when I left this morning? Linda : He was crestfallen, Willy. You know how he admires you. I think

if he finds himself then you’ll both be happier and not fight any more.

Willy : How can he find himself on a farm? Is that a life? A farmhand? In the beginning, when he was young, I thought, well, a young man, it’s good for him to tramp arround, take alot of different jobs. But it’s more than ten years now and he has yet to make thirty-five dollars a week!

Linda : He’s finding himself, Willy.

Willy : Not finding yourself at the age of thirty-four is a disgrace! Linda : Shh!

Willy : The trouble is he’s lazy, goddammit! Linda : Willy, please!

Willy : Biff is a lazy bum. (Miller, Act I, 1003)

He is very dissapointed with Biff, because Biff can not get the settle job, that’s why he often mocks at Biff. Willy wants Biff to have settle job, so he can earn much money for his family.

Biff : Why does Dad mock me all the time? Happy : He’s not mocking you, he –

Biff : Everything I say there’s a twist of mockery on his face. I can’t get near him.

Happy : He just wants you to make good, that’s all. I wanted to talk to you about Dad for a long time Biff. Something’s – happening to him. He – talks to himself.

Biff : I noticed that this morning. But he always mumbled.

Happy : But not so noticeable. It go so embarassing I sent him to Florida. And you know something? Most of the time he’s talking to you. Biff : What he say about me?

Happy : I can’t make it out. Biff : What’s he say about me?

Happy : I think the fact that you’re not settled, that you’re still kind of up in the air.

Biff : There’s one or two other things depressing him, Happy. Happy : What do you mean?

Biff : Never mind. Just don’t lay it all to me.

Happy : But I think if you just got started – I mean – is there any future for you out there?

Biff : I tell ya, Hap, I don’t know what the future is. I don’t know – what I’m supposed to want.

Happy : What do you mean?

Biff : Well, I spent six or seven years after high school trying to work my self up. Shipping clerk, Salesman, business of one kind or another. And it’s a measly manner of existence. To get on that subway on the hot mornings in the summer. To devote your whole life to keep stock, or making phone calls, or selling or buying. To suffer fifty weeks of the year for the sake of a two – week vacation, when all you really desire is to be out doors, with your shirt off. And always to have to get ahead of the next fella. And still – that’s how you build a future.

Happy : Well, you really enjoy it on a farm? Are you content out there? Biff (with rising agitation): Hap, I’ve had twenty or thirty different kinds of jobs since I left home before the war, and it always turns out the same. I just realized it lately. In Nebraska when I herded cattle, and the Dakotas, and Arizona, and now in Texas. It’s why I came home now, I guess, because I realized it. This farm I work on, it’s spring there now, see? And they’ve got about fifteen new colts. There’s nothing more inspiring or beautiful than the sight of a mare and a new colt. And it’s cool there now, see? Texas is cool now, and it’s spring. And whenever spring comes to where I am, I

suddenly get the feeling, my God, I’m not gettin anywhere! What the hell am I doing. Playing around with horses, twenty eight dollars a week! I’m thirty four years old. I oughta be makin’ my future. That’s when I came running home. And now, I get here, and I don’t know what to do with myself. (After a pause). I’ve always made a point or not wasting my life, and every time I come back here I know that all I’ve done is to waste my life.

(Miller, Act I, 1005)

But Biff Loman can not do this. Biff even choses to whistle in an elevator. Knowing that, Willy Loman gets angry with Biff. He is also very shy, because Bernard never whistle in the elevator. And then Willy asks Biff to go back to west and be a carpenter there.

Willy : Even your grandfather was better than a carpenter. (Pause. They watch him.) You never grew up. Bernard does not whistle in elevator, I assure you.

Biff (as through to laugh Willy out of it): Yeah, but you do Pop.

Willy : I never in my life whistled in an elevator! And who in the business world thinks I’m crazy?

Biff : I didn’t mean it like that Pop. Now don’t make a whole thing out of it, will ya?

Willy : Go back to the West! Be a carpenter, a cow boy, enjoy yourself! (Miller, Act I, 1017).

Actually Willy regreat Willy regrets for not following Ben to be a successful man. Willy laments to himself that he did not go to Alaska with his brother, Ben, who acquired a fortune at the age of twenty-one upon discovering an African diamond mine. Willy’s wistful fantasy of living in the forests of Alaska strengthens the implication that he chose the wrong profession.

Willy : “Sure, sure! If I’d gone with him to Alaska that time, everything would’ve been totally different.”

(Miller, Act I, 1012).

But, now he must face the truth, that he becomes a salesman and, he has no enough money to support the financial in his family. Too much owe must be paid.

Willy : What do we owe?

Willy : Why sixteen?

Linda : Well, the fan belt broke, so it was a dollar eighty. Willy : But it’s brand new.

Linda: Well, the man said that’s the way it is. Till they work themselves in, y’know.

(They move through the wall-line into the kitchen.) Willy : I hope we didn’t get stuck on that machine. Linda : They got the biggest ads of any of them! Willy : I know, it’s a fine machine. What else?

Linda : Well, there’s nine-sixty for the washing machine. And for the vacuum cleaner there’s three and a half due on the fifteenth. Then the roof, you got twenty-one dollars remaining.

(Miller, Act I, 1009)

Because of that, Willy Loman also comes to Howard, to get a new job. Howard, the young boss of Willy's company, represents the impersonal and ruthless nature of capitalistic enterprise. When Willy goes in to ask Howard if he can be transferred to a job in New York, Howard refuses to help him even though Willy has been working for the company for several decades and was good friends with his father.

Howard : What happened? What’re you doing here? Willy : Well...

Howard : You didn’t crack up again, did you? Willy : Oh, no. No...

Howard : Geez, you had me worried there for a minute. What’s the trouble?

Willy : Well, tell you the truth, Howard. I’ve come to the decision that I’d rather not travel anymore.

Howard : Not travel! Well, what will you do?

Willy : Remember, Christmas time, when you had the party here? You said you’d try to think of some spot for me here in town.

Howard : With us? Willy : Well, sure.

Howard : Oh, yeah,yeah. I remember. Well, I couldn’t think of anything for you, Willy.

Willy : I tell ya, Howard. The kids are all grown up, y’know. I don’t need much anymore. If I could take home – well, sixty –five dollars a week, I could swing it.

Howard : Yeah, but Willy, see I –

Willy : I tell ya why, Howard. Speaking frankly and between the two of us, y’know – I’m just a little tired.

Howard : Oh, I could uderstand that, Willy. But you’re a road man, Willy, and we do a road business. We’ve only got a half – dozen salesman on the floor here.

Willy : God knows, Howard, I never asked a favor of any man. But I was with the firm when your father used to carry you in here in his arms.

Howard : I know that, Willy, but –

Willy : Your father came to me the day you were born and asked me what i thought of the name Howard, may he rest in peace.

Howard : I appreciate that, Willy, buth there just is no spot here for you. If I had a spot I’d slam you right in, but I just don’t have a single solitary spot.

(Miller, Act II, 1023)

Willy also tells Howard that he want to be like Dave Singleman, a very famous salesman. And then Willy tells Howard that he wants to go to Boston, but again, Howard does not allow him to go to Boston. He asks Willy to have a good long rest.

Howard (rolling up the cord): Willy, look.... Willy : I’ll go to Boston.

Howard : Willy, you can’t go to Boston for us. Willy : Why I can’t go?

Howard : I don’t want you to represent us. I’ve been meaning to tell you for a long time now.

Willy : Howard, are you firing me?

Howard : I think you need a good long rest, Willy. Willy : Howard –

Howard : And when you feel better, come back, and we’ll see if we can work something out.

Willy : But I gotta earn money, Howard. I’m in no position to – Howard : Where are your sons? Why don’t your sons give you a hand? Willy : They’re working on a very big deal.

Howard : This is no time for false pride, Willy. You go to your sons and you tell them that you’re tired. You’ve got two great boys, haven’t you?

Willy : Oh, no question, no question, but in the mean time... Howard : Then that’s that, heh?

Willy : All right, I’ll go to Boston tomorrow. Howard : No, no.

Willy : I can’t throw myself on my sons. I’m not a cripple! Howard: Look, kid, I’m busy this morning.

Willy (grasping Howard’s arm): Howard, you’ve got to let me to go to Boston.

Howard (hard, keeping himself under control): I’ve take five minutes, and pull yourself together, and then go home, will ya? I need the office, Willy. (He starts to go, turns, remembering the recordr, starts to push off the table holding the recorder) Oh, yeah. Whenever you can this weel, stop by and dropp off the samples. You’ll feel better, Willy, and then come back, kid, there’s people outside.

(Miller Act II, 1023 – 1024)

And then Willy comes to Charley, but in front of Charley’s office he meets Bernard, Biff’s friend. They talk about Biff Loman. Bernard asks about Biff, and Willy tells Bernard that Biff is in town. Bernard also tells Willy that Biff flunks the important course and Biff must enroll in summer school, but the fact, Biff dissapears from the block for almost a month.

Willy (confidentially, desperately): You were his friend, his boyhood friend. Thre’s something i don’t understand about it. His life ended after that Ebbets Field game. From the age of seventeen nothing good ever happened to him.

Bernard: He never trained himself for anything.

Willy : but he did, he did. After high school he took so many correspondence courses. Radiao mechanics; televisions; God knows what, and never made the slightest mark.

Bernard (taking off his glasses): Willy, do you want talk candidly?

Willy (rising, faces Bernard): I regard you as a very brilliant man, Bernard. I value your advice.

Bernard: Oh, the hell with the advice, Willy. I couldn’t advise you. There’s just one thing I’ve always wanted to ask you. When he was supposed to graduate, and the math teacher flunked him –

Willy : Oh, that son-of-a-bitch ruined his life.

Bernard: Yeah, but, Willy all he had to do was go to summer school and make up that subject.

Willy : that’s right, that’s right.

Bernard: Did you tell him not to go to summer school? Willy : Me? I begged him to go. I ordered him to go! Bernard : Then why wouldn’t he go?

Willy : Why? Why! Bernard that question has been trailing me like a ghost for the lasy fifteen years. He flunked the subject, and laid down and died like a hammer hit him.

Willy tells Bernard that Biff comes to Boston. But when Bernard asks what happened in Boston, Willy Loman gets angry, because he thinks that Bernard blames it on Willy. Willy thinks that all Biff’s failures caused by Willy’s faults.

Bernard: Willy?

Willy (with a strong edge of resentmnet in his voice): Yeahh, he came to Boston. What about it?

Bernard: Well, just that wheb he came back – I’ll never forget this, it always mystifies me. Because i’d thought so well of Biff, even though he’d always taken advantage of me. I loved him, Willy, you know? And He came back after that month and took his sneakers – remember those sneakers with “University of Virginia” printed on them? He was so proud of those, wore them every day. And he took them down in the cellar, and burned them up in the furnance. We had a fist fight. It lasted at least half an hour. Just the two of us, punching each other down the cellar, and crying right through it. I’ve often thought of how strange it was that I knew he’d given up his life. What happened in Boston, Willy?

(Willy looks at him as at an intruder.)

Bernard : I just bring it up because you asked me.

Willy (angrily): Nothing. What do you mean, “what Happened?” What’s that got to do with anything?

Bernard : Well, don’t get sore.

Willy : What are you trying to do, blame it on me? If a boy lays down is that my fault?

Bernard : Now, Willy, don’t get –

Willy : Well, don’t – don’t talk to me that way! What does that mean, “What happened?”

(Miller Act II, 1026 – 1027)

Charley comes to them. First Willy asks a hundred and ten dollars to Charley, to pay his insurance. He tells charley that he draws money from the bank. Charley then offers Willy a job. Willy will make fifty dollars, and Willy will not work on the road. But Willy refuses Charley’s job, and tell Charley that Willy has got a job. But Willy has a high prestige. Charley, concerned about Willy, offers him a job, but Willy is insulted by the offer. Willy never wants to receive an offered job from Charley although Charley thinks that Willy really needs a job. Willy says that he has got a job even though in the fact he only gets a

small commission and salary, it is not as he expects. Even Willy cannot pay his insurance premium and he must borrow some money from Charley.

Charley : Now listen to me, Willy.

Willy : I want you to know I appreciate...

Charley (sitting down on the table): Willy, what’re you doin? What the hell is goin on in your head?

Willy : Why? I’m simply....

Charley : I offered you a job. You make fifty dollars a week. And I won’t send you on the road.

Willy : I’ve got a job.

Charley : Without pay? What kind of a job is a job without pay? (He rises) Now, look, kid, enough is enough. I’m no genius but I know when I’m being insulted.

Willy : Insulted!

Charley : Why don’t you want to work for me? Willy : What’s the matter with you? I’ve got a job.

Charley : then what’re you walkin’ in here every week for? Willy (getting up): well, If you don’t want me to walk in here – Charley: I’m offering you a job.

Willy : I don’t want your goddam job!

Charley: When the hell are you going to grow up?

Willy (furiously): You big ignoramus, if you say that to me again I’ll rap you one! I don’t care how big you are! (He’s ready to fight)

(Pause)

(Miller, Act II, 1027)

Willy does not want to work with Charley, because Willy has been jealous with him. Knowing that, Charley gets angry with Will and gives the money to Willy and goes out from the room.

Charley: Why must everybody like you? Who liked J. P. Morgan? Was he impressive? In a Turkish bath he’d look like a butcher. But with his pockets on he was very well liked. Now listen, Willy, I know you don’t like me, and nobody can say I’m in love with you, but I’ll give you a job because — just for the hell of it, put it that way. Now what do you say?

Willy : I — I just can’t work for you, Charley. Charley: What’re you, jealous of me?

Willy : I can’t work for you, that’s all, don’t ask me why.

Charley (angered, takes out more bills): You been jealous of me all your life, you damned fool! Here, pay your insurance. (He puts the money in Willy’s hand.)

Charley: I’ve got some work to do. Take care of yourself. And pay your insurance.

Willy (moving to the right): Funny, y’know? After all the highways, and the trains, and the appointments, and the years, you end up worth more dead than alive.

Charley: Willy, nobody’s worth nothin’ dead. (After a slight pause.) Did you hear what I said? (Willy stands still, dreaming.)

Charley: Willy!

Willy: Apologize to Bernard for me when you see him. I didn’t mean to argue with him. He’s a fine boy. They’re all fine boys, and they’ll end up big — all of them. Someday they’ll all play tennis together. Wish me luck, Charley. He saw Bill Oliver today.

Charley: Good luck.

Willy (on the verge of tears): Charley, you’re the only friend I got. Isn’t that a remarkable thing? (He goes out.)

Charley: Jesus!

(Miller Act II, 1025 – 1026)

The conflict faced by Willy becomes worse, because Biff can not get a good job from Oliver. Bill Oliver is a businessman. Biff ever told Willy that he wants to see Biff Oliver, because Biff wants to go into business.Before Biff going to see Oliver, Willy inculcates his beliefs to Biff. He believes if someone is well-liked and has a personal attractiveness, then he will get success. Willy stresses to Biff that he must start high for the salary and does not say that he works on a farm.

Willy : “But don’t wear sport jacket and slacks when you see Oliver. A business suit, and talk as little as possible, and don’t crack any jokes. And don’t say ‘Gee’. ‘Gee’ is a boy’s word. A man walking in for fifteen thousand dollars does not say ‘Gee!’ …Don’t be so modest. You always started too low. Walk in with a big laugh. Don’t look worried. Start off with a couple of your good stories to lighten things up. It’s not what you say, it’s how you say it – because personality always wins the day.” “Tell him you were in the business in the West. Not farm work. And don’t undersell yourself. No less than fifteen thousand dollars.”

(Miller, Act I, 1018)

Willy and Biff meet at the restaurant, and in that restaurant Biff tells Willy what has happened in Bill Oliver’s office. Biff is surprised, because he is

offered to be a salesman for Bill Oliver, while Biff does not want to be a salesman. He has worked as a shipping clerk. And he does not want to work as a salesman. Biff asks his father who has told Bill Oliver, that Biff is a salesman for Bill Oliver. And Biff tries to explain to Willy that Willy he has been living an illusion and will never amount to anything extraordinary. Willy refuses to listen to him and pretends that Biff has another appointment for the next day.and then Willy tell that he has been fired by Howard. When Biff tries to make Willy face the truth, Willy becomes furious and goes off to the bathroom. Biff and Happy then leave the restaurant.

Biff (high, slightly alcoholic, above the earth) : I’m going to tell you everything from the first to last. It’s been a strange day. (Silence. He looks around, composes himself as best he can, but his breath keeps breaking the rhythm of his voice.) I had to wait quite a while for him, and –

Willy : Oliver?

Biff : Yeah, Oliver. All day, as a matter of cold fact. And a lot of – instances – facts, Pop, facts about my life came back to me. Who was it, Pop? Who ever said I was a salesman with Oliver?

Willy : Well, you were.

Biff : No, Dad. I was a shipping clerck. Willy : But you were practically –

Biff (with determination) : Dad, I don’t know who said it first, but I was never a salesman for Bill Oliver.

Willy : What’re you talking about?

Biff : Let’s hold on to the facts tonight, Pop. We’re not going to get anywhere bullin’ around. I was a shipping clerck.

Willy (angrily) : All right, now listen to me – Biff : Why don’t you let me finish?

Willy : I’m not interested in stories about the past or any crap of that kind because the woods are burning, boys, you undersrtand? There’s a big blaze going on all around. I was fired today.

Biff (shocked) : How could you be?

Willy : I was fired, and I’m looking for a little good news to tell your mother, because the woman has waited and the woman has suffered. The gist of it is that I haven’t got a story left in my head, Biff. So don’ give me a lecture about facts and aspects. I am not interested. Now what’ve you got to say to me?

Later that night, they come how, and they see Willy plant seeds in the garden. Biff then tell Willy that he wants to go. It is best if they don’t see each other. And then he ask permisson from his fahter, Willy. But Willy does n ot want to shake his hand. And Biff gets nagry with Willy because he does not want to care about Biff. Biff also says that Willy does not want to see Biff as what he wants. Willy always forces Biff to be what he likes. He never think about Biff’s feeling.

Biff : People ask where I am and what I’m doing, you don’t know, and you don’t care. That way it’ll be off your mind and you can start brightening up again. All right? That clears it, doesn’t it? (Willy is silent, and Biff goes to him.) You gonna wish me luck, scout? (He extends his hand.) What do you say?

Linda : Shake his hand Willy.

Willy (turning to her, seeething with hurt): There’s no neccesity to mention the pen at all, y’know.

Biff (gently): I’ve got no appointment, Dad.

Willy (erupting fiercely): He put his arm around...?

Biff : Dad, you’re never going to see what I am, so what’s the use of arguing? If I strike oil I’ll send you a check. Meantime forget I’m alive.

(Miller, Act II, 1037)

The climax of conflict that Willy faced occurs when Biff tells Willy why he has no address for three months. Biff steals a suit in Kansas city, nad he is in jail for three months.

Biff : You’re practically full of it! We all are! and I’m through with it. (to Willy) Now hear this, Willy, this is me.

Willy : I know you!

Biff : You know why I had no adress for three months? I stole a suit in Kansas City and I was in jail. (to Linda, who is sobbing.) Stop crying. I’m through with it.

(Linda turns away from them, her hands covering her face.) (Miller, Act II, 1038)

Willy Loman is very horrified, and he supposes that’s his fault. Biff also thinks like that, because he never gets anywhere, Willy Loman always blows him, so

Biff can not stand taking orders from anybody. Biff tells Willy that’s Willy’s faults.

Willy : I suppose that’s my fault!

Biff : I stole myself out of every good job since high school! Willy : And whose fault is that?

Biff : And I never got anywhere because you blew me so full of hot air I could never stand atking orders from anybody! Thar’s whose fault it is!

Willy : I hear that! Linda : Don’t Biff! (Miller, Act II, 1038)

Biff also tells that he is not a leader, and neither Willy is. Biff also tells Willy that Willy is never anything. Biff says that he never tries to be what he is. He always do what Willy asks him to do. He never be himself. Biff tells Willy that both of them are dime a dozen. But Willy does not agree with that.

Willy : Then hang yourself! For spite, hang yourself!

Biff : No! Nobody’s hanging himself, Willy! I ran down eleven flights with a pen in my hand today. And suddenly I stopped, you hear me? And in the middle of that office building, do you hear this? I stopped in the middle of that building and I saw – the sky. I saw the things that I love in this world. The work and the food and time to sit and smoke. And I looked at the pen and said to myself, what the hell am I grabbing this for? Why am I trying to become what I don’t want to be? What am I doing in an office, making a contemptuous, begging fool of myself, when all I want is out there, waiting for me the minute I say I know who I am! Why can’t I say that, Willy? (He tries to make Willy face him, but Willy pulls away and moves to the left.)

Willy (with hatred, threateningly): The door of your life is wide open! Biff : Pop! I’m a dime a dozen, and so are you!

Willy (turning on him now in an uncontrolled out – burst): I am not a dime a dozen! I am Willy Loman, and you are Biff Loman!

(Biff starts for Willy, but is blocked by Happy. In his fury, Biff seems on the verge of attacking his father.)

Biff : I am not a leader of men, Willy, and neither are you. You were never anything but a hard – working drummer who landed in the ash can like all the rest of them! I’m one dollar an hour. Willy! I tried seven states and couldn’t raise it. A buck an hour! Do you gather my meaning? I’m not bringing home any prizes any more, and tou’re going to stop waiting for me to bring them home!

(Biff breaks from Happy. Willy, in fright, starts up the stairs. Biff grabs him)

Biff (at the peak of his fury): Pop, I’m nothing! I’m nothing Pop. Can’t you understand that? There’s no spite in it anymore. I’m just what I am, that’s all.

(Miller, Act II, 1038 – 1039)

Biff tells it to Willy because Willy has lived his entire life in a world of illusions. These illusions include Willy's belief that being well-liked is the key to success, as well as the literal illusions that Willy has of his past. Willy, however, has lived too long in his dreams and cannot understand what Biff is trying to say. If Willy had to face reality, he would then be forced to examine the affair he had in Boston, his philosophy, and all of his illusions. Instead, he prefers to live in the past. And now Biff, who is trying to confront the truth about himself, finds that he is completely unable to communicate with his father.

The resolution of the conflict occurs when Willy feels that he can not face the deceptions he has prepertuated. He commits suicide in the firm belief that his son will able to follow in his footsteps and succeed where he did not. He thinks that his insurance money will be just what they need to save the house and the family. What he does not realize is that they are no more capable than he is. They have been corrupted by his thinking, his values, his belief. And they cannot solve the problems that overwhelmed him.

Linda : Be good. You’re both good boys, just act that way, that’s all. Happy : ‘Night, Pop. (He goes upstairs.)

Linda (to Willy): Come, dear.

Ben (with greater force): One must go in to fetch a diamond out.

Willy (to Linda, as he moves slowly along the edge of kitchen, toward the door): I just want to get settled down, Linda. Let me sit alone for a little.

Linda (almost uttering her fear): I want you upstairs.

Willy (taking her in his arms): In a few minutes, Linda. I couldn’t sleep right now. Go on, you look awful tired. (He kisses her.)

Ben : Not like an appointment at all. A diamond is rough and hard to the touch.

Willy : Go on now. I’ll be right up. Linda : I think this is the only way, Willy. Willy : Sure, it’s the best thing.

Ben : Best thing!

Willy : The only way. Everything is gonna be — go on, kid, get to bed. You look so tired.

Linda : Come right up. Willy : Two minutes.

(Linda goes into the living room, then reappears in her bedroom. Willy moves just outside the kitchen door.)

Willy : Loves me. (Wonderingly.) Always loved me. Isn’t that a remarkable thing? Ben, he’ll worship me for it!

Ben (with promise): It’s dark there, but full of diamonds.

Willy : Can you imagine that magnificence with twenty thousand dollars in his pocket?

Linda (calling from her room): Willy! Come up!

Willy (calling into the kitchen): Yes! Yes. Coming! It’s very smart, you realize that, don’t you, sweetheart? Even Ben sees it. I gotta go, baby. ‘By! ‘By! (Going over to Ben, almost dancing.) Imagine? When the mail comes he’ll be ahead of Bernard again!

Ben : A perfect proposition all around.

Willy : Did you see how he cried to me? Oh, if I could kiss him, Ben! Ben : Time, William, time!

Willy : Oh, Ben, I always knew one way or another we were gonna make it, Biff and I!

Ben (looking at his watch): The boat. We’ll be late. (He moves slowly off into the darkness.)

Willy (elegiacally, turning to the house): Now when you kick off, boy, I want a seventy-yard boot, and get right down the field under the ball, and when you hit, hit low and hit hard, because it’s important, boy. (He swings around and faces the audience.) There’s all kinds of important people in the stands, and the first thing you know... (Suddenly realizing he is alone.) Ben! Ben, where do I... ? (He makes a sudden movement of search.) Ben, how do I... ?

Linda (calling): Willy, you coming up?

Willy (uttering a gasp of fear, whirling about as if to quiet her): Sh! (He turns around as if to find his way; sounds, faces, voices, seem to be swarming in upon him and he flicks at them, crying.) Sh! Sh! (Suddenly music, faint and high, stops him. It rises in intensity, almost to an unbearable scream. He goes up and down on his toes, and rushes off around the house.) Shhh!

Linda : Willy?

(There is no answer. Linda waits. Biff gets up off his bed. He is still in his clothes. Happy sits up. Biff stands listening.)

Linda (with real fear): Willy, answer me! Willy!

Linda : No!

Biff (rushing down the stairs): Pop! (Miller, Act II, 1039 – 1040)

Linda thinks that many people will come to Willy’s funeral, because Linda thinks that Willy is a very famous salesman. But nobody comes to Willy’s funeral. Only Linda, Charley and his two sons, Biff and Happy are in the funeral.

Linda : Why didn’t anybody come? Charley : It was a very nice funeral.

Linda : But where are all the people he knew? Maybe they blame him. Charley : Naa, It’s a rough world, Linda. They wouldn’t blame him. (Miller, Requiem, 1040)

Before Linda goes back to her house, Linda says to Willy that he can not cry. He thinks Willy just go for another trip.

Linda : Forgive me, dear. I can’t cry. I don’t know what it is, I can’t cry. I don’t understand it. Why did you ever do that? Help me Willy, I can’t cry. It seems to me that you’re just on another trip. I keep expecting you. Willy, dear, I can’t cry. Why did you do it? I search and search and I search, and I can’t understand it, Willy. I made the last payment on the house today. Today, dear. And there’ll be nobody home. (A sob rises in her throat.) We’re free and clear. (Sobbing more fully, released.) We’re free. (Biff comes slowly toward her.) We’re free... We’re free... (Biff lifts her to her feet and moves out up right with her in his arms. Linda sobs quietly. Bernard and Charley come together and follow them, followed by Happy. Only the music of the flute is left on the darkening stage as over the house the hard towers of the apartment buildings rise into sharp focus, and the curtain falls.)

(Miller, Requiem, 1040)

From all the explanations above we can see that the resolution of the conflict occurs from Willy himself. Willy is a salesman, and he has his own concept in reaching success. For Willy, being well liked and making many friends are very important in business world. This play begins when Willy Loman is around sixty, we can see that he failed to travel and he also can sell the needs that he has to sell. He also feels that he becomes very ugly, and many people laugh at

him. He tells it to Linda, because if he becomes fat and foolish, he can not make money for his family. Sometimes Willy also feels loney, so he makes a realtionship with the woman. He uses the woman as a tools, so he can sell the things easily, but this thing is known by his son Biff. The conflict also begins because of the confusion and frustration of Willy Loman. This feeling is caused by his inability to face the realities of modern society. Willy’s most prominent is that success is dependant upon being well – liked and hanig personal attractiveness. Willy also blames the population of modern world that requires young people and does not like him anymore.

Linda : We should’ve bought the land next door.

Willy : The street is lined with cars. There’s not a breath of fresh air in the neighborhood. The grass don’t grow any more, you can’t raise a carrot in the back yard. They should’ve had a law against apartment houses. Remember those two beautiful elm trees out there? When I and Biff hung the swing between them?

Linda : Yeah, like being a million miles from the city.

Willy : They should’ve arrested the builder for cutting those down. They massacred the neighbourhood. (Lost.) More and more I think of those days, Linda. This time of year it was lilac and wisteria. And then the peonies would come out, and the daffodils. What fragrance in this room!

Linda : Well, after all, people had to move somewhere. Willy : No, there’s more people now.

Linda : I don’t think there’s more people. I think

Willy : There’s more people! That’s what’s ruining this country! Population is getting out of control. The competition is maddening! Smell the stink from that apartment house! And another one on the other side... How can they whip cheese?

(Miller, Act I, 1003)

The complication of the conflict occurs when Willy regreats that he does not want to come with his brother, Ben, to Alaska. He thinks that if he comes with his brother, he will not be like this. He will not work as a salesman, and he will not have owe to pay. But the fact, he works as a salesman and he has owe to pay. The conflict also becomes very worse because, Willy Loman can not travel

anymore, because he is old, so he asks his son Biff, to earn money for his family. But Biff failed. He can not make money fir his family in the age of thirty four. Willy Loman is very dissapointed sith Biff, because Biff can not do what Willy has offered. Willy even choose to work in an elevator. Willy Loman also losts his job. He is fired by Howard, and he becomes jobless. And then he comes to Charley to ask for money, to pay his insurance. Actually Charley offers Willy a job, but Willy refuses it, because Willy has high prestige. From this we can see that Willy experience the tendence. When he gets older, he losts his job and he must face the fact that his son Biff, can not help him to earn money to his family.

The climax of the conflict occurs when Biff decides to go. Biff thinks that it is better if he is far away from Willy. But Willy does not want to shake Biff’s hand. At last Biff tells the truth that he has been in jail for three months, because he steals in Kansas. That’s why Biff does not have an address for three months. And Biff says that Willy must be responsible with that, because Biff feels very oppressed. Willy never let him to do what he wants to do.

The falling action occurs when Biff says that he is nothing, and he asks Willy to understand him. Seeing Biff crying, Willy is so astonished. Willy thinks that Biff hates him all the time, but Biff shows Willy that Biff loves him.

(Biffs fury has spent itself, and he breaks down, sobbing, holdingon to Willy, who dumbly fumbles for Biff’s face.)

Willy (astonished): What’re you doing? What’re you doing? (ToLinda.) Why is he crying?

Biff (crying, broken): Will you let me go, for Christ’s sake? Will you take that phony dream and burn it before something happens? (Struggling to contain himself, he pulls away and moves to the stairs.) I’ll go in the morning. Put him — put him to bed.

(Exhausted, Biff moves up the stairs to his room.)

Willy (after a long pause, astonished, elevated): Isn’t that — isn’t that remarkable? Biff — he likes me!

Linda : He loves you, Willy!

Happy (deeply moved): Always did, Pop.

Willy : Oh, Biff! (Staring wildly.) He cried! Cried to me. (He is choking with his love and now cries out his promise.) That boy – that boy is going to be magnificient!

(Miller, Act II, 1039)

When Willy was young, he had met a man named Dave Singleman who was so well-liked that he was able to make a living simply by staying in his hotel room and telephoning buyers. When Dave Singleman died, buyers and salesmen from all over the country came to his funeral. This is what Willy has been trying to emulate his entire life.

And the resolution occurs when Willy decides that he still unable to face deceptions he has prepertuated. He commits suicide in the firm belief that his son will be able to follow in his footsteps and suceed where he did not. He thinks that his insurance money will be just what they need to save the house and the family. What he does not realize is that they are no more capable than he is. Willy then goes out from the house and he drives and then he crashes. There are no people comes to Willy’s funeral. And his wife Linda can not cry at Willy’s funeral.

In analyzing this thesis, I also use the theory of conflict. Theory of conflict is a theory which sees that social change does not occur by values argument which brings changes, but it occurs because of the conflict which makes the different compromise with the first condition. And this theory is influenced by Karl Marx’s idea about class and struggle. (quoted from id.wikipedia.org/wiki/Teori_konflik). Social class occurs when someone from a lower class struggles to get a higher class or position. In contemporary usage, stratification typically comprises of three layers:

In this play we can see that Willy want to improve his social class. Willy Loman is from a lower class, and he tries to get a higher class position. He wants to do anything to improve his social class. He even asks his son Biff to earn much money and it makes Willy must have conflict with Biff, because Biff has to work hard, and he can not be himself. Beside that, Willy’s struggling in improving his social class is when he makes a relationship with The Woman. Actually he uses the woman as a tool, so he can sells the things effectively. Willy also uses the woman as a tool to feel well liked. The Woman is Willy’s mistress and a secretary for one of his buyers. She tells him that she picked him because he is so funny and sweet. Willy loves the praise. She thanks Willy for giving her stockings and promises to put him right through to the buyers when she sees him next. This relationship also makes Willy has conflict with his son Biff, because Biff sees them in a room and Biff also sees that Willy gives The Woman his mother’s stocking. Besides that Willy’s struggling in reaching a higher social class is from his effort to get a better job from Howard, his boss. But Howard can not give him a job, because there are no empty places for Willy, although Howard is the son of Willy’s friend, but he can not get a better job. He even fired by Howard.

I also use Coser’s theory of conflict. Coser says that conflict can be a process that is insturmental in the establishment, acquisiton and maintenance of social culture. Conflict may place and maintain the boundary line between two or more groups. Coser also devides conflict into two terms, they are realistic and non realistic conflict. And from the explanation above, we can see that the dominant conflict faced by Willy is realistic conflict. Because Willy shows his dissapointment. We can see conflict between Willy and Howard. Howard can not

give a job to Willy, because there is no empty space for Willy, knowing that, Willy gets very angry with Howard. And he shows his dissapointment to Howard.

From the explanations above we also can see that, Willy also has conflict with his neighbour, Charley. When Charley offers Willy a job, Willy refuses it, and he says that Willy can not work with Charley. And Charley thinks that Willy is jealous of him. From this part, we can see that Charley is very dissapoint with Willy, and then he goes out from the room, and gives Willy money to pay his insurance. This conflict also belongs to realistic conflict, because Charley shows his dissapointment to Willy.

Willy also has conflict with Bernard, Charley’s son and also Biff’s friend. When they are talking about Biff, Bernard tells Willy that Biff never enroll the summer school. Bernard also says that Biff never train anything. Bernard also asks Willy what has happened in Boston, during Biff’s travel. But Willy Loman gets angry with Bernard, because he thinks that Bernard blames on him. He thinks that Bernard says that Willy must be responsible with Biff. The dominant conflict between Willy and Bernard is the realistic conflict, because Willy shows his dissapointment to Bernard, because Bernard thinks that Biff’s failure caused by Willy.

Willy Loman also has conflict with himself. It can be seen when people never want to look at him, and he sees that his buyers laugh him. He thinks that he becomes older and ugly. He also tells it to Linda, but Linda always support him. Willy Loman also feels lonely, becasuse nobosy wants to listen to him. And in the end of play we can see that he commits suicide, because he can not face the deceptions. And this conflict belongs to non realistic. Non realistic conflict is

conflict which are not derived from the goals of antagonistic rival, but from the need to ease the tension, at least from one side. This conflict belongs to non realistic conflict because in the end Willy Loman commits suicide, to solve his conflict.

Coser also says that if the conflict develops in imitate relationship, then the separation (between the realistic conflict and non – realistic) would be more difficult to maintain. And it also happened to conflict faced by Willy and Biff. Biff feels oppressed, because he can not do what he likes. He can not be himself, because his father always control Biff’s life. His father wants Biff to be like him.

Biff : No! Nobody’s hanging himself, Willy! I ran down eleven flights with a pen in my hand today. And suddenly I stopped, you hear me? And in the middle of that office building, do you hear this? I stopped in the middle of that building and I saw – the sky. I saw the things that I love in this world. The work and the food and time to sit and smoke. And I looked at the pen and said to myself, what the hell am I grabbing this for? Why am I trying to become what I don’t want to be? What am I doing in an office, making a contemptuous, begging fool of myself, when all I want is out there, waiting for me the minute I say I know who I am! Why can’t I say that, Willy? (He tries to make Willy face him, but Willy pulls away and moves to the left.)

(Miller, Act II, 1038)

Conflict that occurs between Willy and Biff also makes Biff must face conflict with Linda, his mother. Linda is Willy’s wife. She admires Willy very much. Linda is a wife who always support Willy’s illusions, allowing him to be a fraud by believing or pretending to believe in his dream with him. She more than loves him, she admires him, as though his mercurial nature, his temper, his massive dreams and little cruelties. Biff says that Willy Loman is a man with no character, but Linda argues it. She disagree with what Biff said. Linda also says that Biff does not know Willy.

Linda : Biff, dear, if you don’t have any feeling for him, then you can’t have any feeling for me.

Biff : Sure I can, Mom.

Linda : No. You can’t just come to see me, because I love him. (With a threat, but only a threat, of tears) He’s the dearest man in the world to me, and I won’t have anyone making him feel unwanted and low and blue. You’ve got to make up your mind now, darling, there’s no leeway anymore. He’s your father and you pay him that respect, or else you’re not to come here. I know he’s not easy to get along with – nobody knows that better than me – but...

Willy (from the left with a laugh): Hey, hey, Biffo!

Biff (starting to go out after Willy): What the hell is the matter with him? (Happy stops him.)

Linda : Don’t – don’t go near him!

Biff : Stop making excuse for him! He always, always wiped the floor with you. Never had an ounce of respect for you.

Happy : He’s always had respect for – Biff : What the hell do you know about it? Happy (surely): Just don’t call him crazy!

Biff : He’s got no character – Charley wouldn’t do this. Not in his own house spewing out that vomit from his mind.

Happy : Charley never had to cope with what he’s got to.

Biff : People are worse off than Willy Loman. Believe me, I’ve seen them!

Linda : Then make Charley your father, Biff. You can’t do that, can you? I don’t say he’s a great man. Willy Loman never made a lot of money. His name was never in the paper. He’s not the finest character that ever lived. But he’s a human being, and a terrible thing is happening to him. So, attention must be paid. He’s not to be allowed to fall in to his grave like an old dog. Attention, attention must be finally paid to such a person. You called him crazy.

Biff : I didn’t mean –

Linda : No, a lot of people think he’s lost his – balletic. But you don’t have to be very smart to know what his trouble is. The man is exhausted.

(Miller Act I, 1015)

Biff also tells Linda, about Willy’s fake. But Linda still defends Willy. Biff tells Linda that Willy does not like anybody around who knows. Biff has known what Willy. But Linda still does not believe what Biff said.

Linda : That’s all you are my baby! (To Biff) And You! What happened to the love you had from him? You were such pals! How you used to talk to him on the phone every night! How lonely he was till he could come to you!

Biff : All right, Mom. I’ll live here in my room, and I’ll get a job. I’ll keep away from him, that’s all.

Linda : No, Biff. You can’t stay here and fight all the time. Biff : He threw me out of this house, remember that. Linda : Why did he do that? I never knew why.

Biff : Because I know he’s fake and he doesn’t like anybody around who knows!

Linda : Why a fake? In what way? What do you mean?

Biff : Just don’t lay it all at my feet. It’s between me and him – that’s all I have to say. I’ll chip UN from now on. He’ll settle for half my pay check. He’ll be all right. I’m going to bed. (He starts for the stairs).

(Miller, Act I, 1016)

From this dialogue we can conclude that Linda does not want to make Willy feels dissapointed, that’s why she always supports Willy’s illution. And Willy also tells Linda, that Linda is his best friend and his fondation, because Linda always supports what Willy said.

In the 1990s Miller wrote such plays as THE RIDE DOWN MOUNT MORGAN (prod. 1991) and THE LAST YANKEE (prod. 1993), but in an interview he stated that "It happens to be a very bad historical moment for playwriting, because the theater is getting more and more difficult to find actors for, since television pays so much and the movies even more than that. If you're young, you'll probably be writing about young people, and that's easier -- you can find young actors -- but you can't readily find mature actors." ('We're Probably in an Art That Is -- Not Dying' , The New York Times, January 17, 1993) In 2002 Miller was honored with Spain's prestigious Principe de Asturias Prize for Literature, making him the first U.S. recipient of the award. Miller died of heart failure at home in Roxbury, Connecticut, on February 10, 2005.

Appendices C

Arthur Miller’s Works.

Stage plays

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•

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• The Grass Still Grows (1938, based on They Too Arise)

• The Great Disobedience (1938)

• Listen My Children (1939, with Norman Rosten)

• The Golden Years (1940)

•

• The Half-Bridge (1943)

•

•

• An Enemy of the People (1950, based on Henrik Ibsen's pla

•

•

•

•

•

• Fame (television play, 1970)

•

•

•

•

•

•

Mirror)

• I Think About You a Great Deal (1986)

• Playing for Time (stage version, 1985)

• I Can’t Remember Anything (1987, collected in Danger: Memory!)

• Clara (1987, collected in Danger: Memory!)

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•

•

•

•

•

Non-fiction

• Situation Normal (1944) is based on his experiences researching the war correspondence of

• In Russia (1969), the first of three books created with his photographer wife Inge Morath, offers Miller's impressions o society.

• In the Country (1977), with photographs by Morath and text by Miller, provides insight into how Miller spent his time in Roxbury, Connecticut and profiles of his various neighbors.

• Chinese Encounters (1979) is a travel journal with photographs by Morath. It depicts the Chinese society in the state of flux which followed the end of the writers, professors, and artists as they try to regain the sense of freedom and place they lost durin

• Salesman in Beijing (1984) details Miller's experiences with the 1983 the idiosyncrasies, understandings, and insights encountered in directing a Chinese cast in a decidedly American play.

• Timebends: A Life, Methuen London (1987)

Death of a Salesman, the book follows the structure of memory itself, each passage linked to and triggered by the one before.

Radio Play

• The Pussycat and the Plumber Who Was a Man (1941)

• William Ireland’s Confession (1941)

• Joel Chandler Harris (1941)

• The Battle of the Ovens (1942)

• Thunder from the Mountains (1942)

• I Was Married in Bataan (1942)

• Toward a Farther Star (1942)

• The Eagle’s Nest (1942)

• The Four Freedoms (1942)

• That They May Win (1943)

• Listen for the Sound of Wings (1943)

• Bernardine (1944)

• I Love You (1944)

• Grandpa and the Statue (1944)

• The Philippines Never Surrendered (1944)

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•

• The Story of Gus (1947)

• The Reason Why (1970)

Assorted fiction

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• "The Misfits" (short story, 1957)

• I Don’t Need You Anymore (short stories, 1967)

• "Homely Girl" (short story, 1992, published in UK as "Plain Girl: A Life" 1995)

• Presence: Stories (short stories, 2007)

Screenplays

• All My Sons (1947)

• The Hook (1947)

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•

•

•

Collections

• Kushner, Tony, ed. Arthur Miller, Collected Plays 1944–1961

• Martin, Robert A. (ed.), "The theater essays of Arthur Miller", foreword by Arthur Miller. NY: Viking Press,

• Steven R Centola, ed. Echoes Down the Corridor: Arthur Miller,

Collected Essays 1944-2000, Viking Penguin (US)/Methuen (UK), 2000