Death of a Salesman(《推销员之死》)英语详细分析
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Key Facts新野板面
FULL TITLE • Death of a Salesman:
百货商店的英文AUTHOR • Arthur Miller
TYPE OF WORK • Play
GENRE • Tragedy, social commentary, family drama
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CLIMAX • The scene in Frank’s Chop Hou and Biff’s final confrontation with Willy at home
PROTAGONISTS • Willy Loman, Biff Loman
ANTAGONISTS • Biff Loman, Willy Loman, the American Dream
SETTING (TIME) • “Today,” that is, the prent; either the late 1940s or the time period in which the play is being produced, with “daydreams” into Willy’s past; all of the action takes place during a twenty-four-hour period between Monday night and Tuesday night, except the “Requiem,” which takes place, presumably, a few days after Willy’s funeral
虹吸式雨水系统SETTING (PLACE) • According to the stage directions, “Willy Loman’s hou and yard [in Brooklyn] and . . . various places he visits in . . . New York and Boston”
FALLING ACTION • The “Requiem” ction, although the play is not really structured as a classical drama
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TENSE • Prent
FORESHADOWING • Willy’s flute theme foreshadows the revelation of his father’s occupation and abandonment; Willy’s preoccupation with Linda’s stockings foreshadows his affair with The Woman; Willy’s automobile accident before the start of Act I foreshadows his suicide at the end of Act II
TONE • The tone of Miller’s stage directions and dialogue ranges from sincere to parodying, but, in general, the treatment is tender, though at times brutally honest, toward Willy’s plight我为什么要学习
THEMES • The American Dream; abandonment; betrayal
MOTIFS • Mythic figures; the American West; Alaska; the African jungle
SYMBOLS • Seeds; diamonds; Linda’s and the womon’s stockings; the rubber ho
Analysis of Major Characters
Willy Loman
Despite his desperate arching through his past, Willy does not achieve the lf-realization or lf-knowledge typical of the tragic hero. The quasi-resolution that his suicide offers him reprents only a partial discovery of the truth. While he achieves a professional understanding of himlf and the fundamental nature of the sales profession,
Willy fails to realize his personal failure and betrayal of his soul and family through the meticulously constructed artifice of his life. He cannot grasp the true personal, emotional, spiritual understanding of himlf as a literal “loman” or “low man.” Willy is too driven by his own “willy”-ness or perver “willfulness” to recognize the slanted reality that his desperate mind has forged. Still, many critics, focusing on Willy’s entrenchment in a quagmire of lies, delusions, and lf-deceptions, ignore the significant accomplishment of his partial lf-realization. Willy’s failure to recognize the anguished love offered to him by his family is crucial to the climax of his torturous day, and the play prents this incapacity as the real tragedy. Despite this failure, Willy makes the most extreme sacrifice in his attempt to leave an inheritance that will allow Biff to fulfill the American Dream. Ben’s final mantra—“The jungle is dark, but full of diamonds”—turns Willy’s suicide into a metaphorical moral struggle, a final skewed ambition to realize his full commercial and material capacity. His final act, according to Ben, is “not like an appointment at all” but like a “diamond . . . rough and hard to the touch.” In the abnce of any real degree of lf-knowledge or truth, Willy is able to achieve a tangible result. In some respect, Willy d
oes experience a sort of revelation, as he finally comes to understand that the product he lls is himlf. Through the imaginary advice of Ben, Willy ends up fully believing his earlier asrtion to Charley that “after all the highways, and the trains, and the appointments, and the years, you end up worth more dead than alive.”
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