Since its debut performance in 1949, Death of a Salesman has brought audiences to tears. Critical debate rages, however, over Willy Loman's stature as a tragic hero. In the classic definition of tragedy, the hero is a person of high stature brought low by an insurmountable flaw in his or her character, known as the "tragic flaw." Some scholars argue that Willy is pathetic rather than tragic, because he is not a great man who loses his stature because of something he does, but a common man who is largely a victim of a society in which the odds are stacked against him. For instance, Eric Mottram contended in Arthur Miller: A Collection of Critical Essays that Willy represents "what happens to an ordinarily uneducated man in an unjust competitive society in which men are victimized by false gods. His fate is not tragic. There is nothing of the superhuman or providential or destined in this play. Everyone fails in a waste of misplaced energy." Others have suggested that Willy cannot be considered a tragic hero because he never confronts his faulty values. In his Arthur Miller: Portrait of a Playwright, Benjamin Nelson asserted. "Although the play's power lies in its stunning ability to elicit ... sympathy, the intensely idiosyncratic portrait of Willy Loman is a constant reminder that the meaning of his drama depends upon our clear awareness of the limitations of Willy's life and vision." Conversely, College English contributor Paul Siegel...
(The entire section is 813 words.)
Want to Read More?
Subscribe now to read the rest of Death of a Salesman Critical Essays. Plus get complete access to 30,000+ study guides!