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Human life is a journey filled with dreams, imagination, and the hope of achieving one's goals. Some individuals passionately pursue self-fulfillment, ultimately attaining contentment, while others find themselves lost, underappreciated, and trapped in a world of self-deception. The characters of Willy Loman in Arthur Miller's "Death of a Salesman" and Amanda Wingfield in Tennessee Williams' "The Glass Menagerie" exemplify individuals who blur the lines between illusion and reality, struggle to live in the present, and yearn for a means of escape from their challenging lives.
"Death of a Salesman" by Arthur Miller was first published in 1949, just four years before Tennessee Williams' play "The Glass Menagerie." Although these plays may seem coincidentally similar at first glance due to their temporal proximity, a closer examination reveals that they share not only the era of publication but also analogous themes.
In particular, both plays grapple with the fundamental distinction between illusion and reality, the characters' inability to embrace the present moment, and their deep-seated desire for an escape from their circumstances.
In both "Death of a Salesman" and "The Glass Menagerie," the characters wrestle with the challenge of distinguishing between their fantasies and the harsh realities of their lives.
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Willy Loman and Amanda Wingfield deny their children's underachievement and faults, clinging to the belief that they can shape their children's destinies through their own perceptions. This penchant for illusion allows them to preserve their sense of success in guiding the lives of their offspring.
Amanda Wingfield, a character in "The Glass Menagerie," epitomizes this tendency.
She refuses to accept her daughter Laura's physical disability, correcting anyone who refers to Laura as a cripple throughout the play. Amanda envisions a life for Laura that involves more than staying at home, despite Laura's own desires. Laura finds solace in her glass menagerie and prefers to remain at home, avoiding the outside world. Amanda's illusions lead her to plan a dinner with Jim, a gentleman caller, whom she hopes will fall in love with and marry Laura during the course of a single meal. However, Laura's shyness and introverted nature make it clear that Amanda's fantasies are far from reality.
Willy Loman, the protagonist of "Death of a Salesman," shares Amanda's penchant for illusions. He convinces himself that his son Biff has a promising future as a salesman, despite evidence to the contrary. Willy's relentless belief that Biff once had a meeting with the esteemed Bill Oliver, a potential employer, leads to Biff's eventual disillusionment when he realizes the extent of his father's self-deception. In a pivotal moment, Biff exclaims, "I even believed myself that I was a salesman for him! And then he gave me one look and - I realized what a ridiculous lie my whole life has been!" (Miller, 104). Willy's illusions not only misguide Biff but also contribute to his own downfall.
Furthermore, both Amanda and Willy distort their positions in society as they chase the American Dream while climbing the corporate ladder. Tom, in "The Glass Menagerie," believes that Jim, a factory worker, could attain a position as significant as the President. This unrealistic belief underscores the characters' tendency to envision themselves as larger-than-life figures. In "Death of a Salesman," Willy imagines himself as a popular and well-known salesman, assuming that he can bypass waiting in line to see buyers with just his name. However, his lackluster sales performance contradicts this self-image. The characters' inability to differentiate between illusion and reality contributes to their ultimate dissatisfaction.
In both plays, the characters become fixated on memories of the past, making it challenging for them to embrace the present. Memories offer solace and compensation for their current shortcomings. They often hold the past responsible for their present circumstances, using it as a justification for their struggles.
Amanda Wingfield is particularly ensnared by her past. She constantly reminisces about her youth and her seventeen gentleman callers. Her fixation on a single Sunday afternoon at Blue Mountain becomes a recurring motif. Amanda's obsession with this memory shapes her actions, as she wears a white dress reminiscent of her youth when Jim, the gentleman caller, comes to dinner. Her desire to recreate the past is palpable as she entertains Jim with the charm and grace of her younger self. Amanda's fixation on the past stems from a desire to recapture a time when she felt valued and cherished.
Willy Loman's fixation on the past is equally profound. He replays memories in his mind, particularly moments when he shared quality time with his sons, Biff and Happy. These memories represent a time when Willy felt successful as a father and provider. For instance, Willy recalls the day they washed the car together and reminisces, "I been wondering why you polish the car so careful. Ha! Don't leave the hubcaps, boys. Happy, use newspaper on the windows, it's the easiest thing. That's it, that's it, good work" (Miller, 28). Willy longs for the days when his sons admired and respected him, as those moments provided him with a sense of accomplishment. However, as the present reveals a fractured relationship with his sons, Willy's fixation on the past becomes a source of regret.
Furthermore, the characters in both plays attribute the difficulties of the present to past actions. They use the past as an excuse for their current misfortunes, shifting the blame away from themselves. Amanda Wingfield's living room is dominated by a photograph of Mr. Wingfield, a constant reminder of his abandonment sixteen years prior and Amanda's perceived mistake. This photograph serves as a symbol of her past regrets and contributes to the challenges she faces in the present. Willy Loman blames Biff's unemployment and loss of identity on his failure in math during high school. He believes that if he had pursued his dreams, such as going to Alaska, he would have achieved success. Willy's fixation on missed opportunities further deepens his sense of regret and dissatisfaction with his current life.
When faced with pain, adversity, and despair, the characters in both plays yearn for an escape from their unbearable lives. They seek refuge in various forms, allowing them to temporarily evade their harsh realities. Whether through physical or mental means, escapism becomes their coping mechanism.
In "The Glass Menagerie," Tom's immediate escape is the fire escape, which he uses to distance himself from his domineering and often psychotic mother, Amanda. However, Tom's true escape is the cinema, which he visits every night. At the movies, Tom finds solace in the adventures and stories of the films, where he can identify with the heroes and escape the mundane reality of his home life. The movies offer Tom a brief respite from his responsibilities and a means to connect with the world beyond his cramped apartment.
Willy Loman employs a different form of escapism; he engages in conversations with himself. These self-dialogues allow him to retreat from his unsatisfying life and create an alternate reality where he feels more in control. Willy's favorite mental escape involves interacting with his brother Ben, who provides him with advice and guidance. However, the audience comes to understand that Ben exists only in Willy's imagination, as no one else can see or interact with him. This form of escapism allows Willy to temporarily detach from his mundane surroundings and seek comfort in his own constructed world.
In "The Glass Menagerie," Laura's escape is less tangible but equally significant. She retreats into her imagination and the world of her glass menagerie, which she keeps on display in the living room. Laura finds solace and comfort in her glass figurines, particularly the unicorn, which she views as a symbol of her own uniqueness and perceived otherness. The fragile beauty of the glass mirrors her own vulnerability. Through her imagination, Laura creates a world where she can exist as something special, in contrast to the outside world where she feels like an outcast.
Biff, in "Death of a Salesman," chooses a physical escape route by heading out West. He describes the West as a place of inspiration and happiness, where he can find solace and purpose. Biff's connection with nature and the colts in the West contrasts with his sense of stagnation and failure in the city. For Biff, the West represents an escape from societal pressures and a return to a more authentic way of life.
In both plays, the characters' tendency to deny reality and cling to illusions eventually leads to their downfall. The consequences of their actions and choices become inescapable, driving them further into a world of self-deception.
Amanda and Willy's resistance to accepting the truth about their children's lives is a central theme in both plays. Amanda cannot accept Laura's physical limitations and insists on creating a false narrative of her daughter's prospects. Similarly, Willy refuses to acknowledge Biff's failures, clinging to the belief that his son will achieve greatness as a salesman. Both characters attempt to control the destinies of their children by denying their shortcomings and fabricating alternate realities.
The characters' denial of reality becomes more problematic as the presence of reality persists. Other characters in the plays attempt to provide hints of the truth, but their cues are consistently dismissed or ignored. Amanda's determination to make Jim the solution to Laura's problems disregards the fact that Jim is unaware of Laura's existence. Tom tries to explain this to his mother, but Amanda brushes off his attempt to introduce reality into her fantasies. Similarly, in "Death of a Salesman," Willy's insistence on his funeral drawing massive crowds is met with skepticism from his friend Charley and his son Bernard, who try to bring him back to reality. However, Willy remains stubbornly committed to his illusions.
As the plays progress, the consequences of the characters' illusions and denial of reality intensify. In "The Glass Menagerie," Jim, the gentleman caller, becomes engaged to another woman, crushing Amanda's hopes of securing a future for Laura through their dinner. Amanda's refusal to accept the reality of Jim's intentions leaves her devastated. In "Death of a Salesman," Willy's unwavering belief in his fabricated success ultimately leads to his mental breakdown. He becomes haunted by his past actions and choices, particularly those that have negatively impacted his relationship with Biff. Willy's descent into madness culminates in his tragic suicide, as he believes his life insurance policy will secure Biff's future.
"Death of a Salesman" and "The Glass Menagerie" offer poignant explorations of the human condition, delving into the complex interplay between illusion and reality, the haunting influence of the past, and the allure of escapism. The characters of Willy Loman and Amanda Wingfield exemplify the tragic consequences of clinging to illusions and denying reality. Their struggles serve as cautionary tales, reminding us of the importance of embracing the present, accepting our imperfections, and seeking authentic paths to self-fulfillment. As we navigate our own journeys through life, these plays continue to resonate, offering profound insights into the human psyche and the enduring power of the human imagination.
In an ever-changing world, the study of literature remains a vital means of exploring the complexities of the human experience, and "Death of a Salesman" and "The Glass Menagerie" stand as enduring testaments to the enduring relevance of these themes.
Analysis of Common Themes in "Death of a Salesman" and "The Glass Menagerie". (2016, Jul 30). Retrieved from https://studymoose.com/themes-in-a-death-of-a-salesman-by-arthur-miller-essay
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