Key Events 5&6

Test yourself

Act One: Key Event Five

The first memory scene is triggered by Willy thinking of his old car.

Key event five

The first memory scene is triggered by Willy thinking of his old car.
Willy remembers Biff and Happy as boys cleaning “that red Chevvy”.

Significance

Willy retreats back to happier times, where his boys idolised him and together they made plans for the future.
His boys trust and believe in Willy, both competing for his attention.

Quotation

“WILLY: [stopping the incipient argument, to HAPPY]: Sure, he’s gotta practise with a regulation ball, doesn’t he? [To BIFF] Coach’ll probably congratulate you on your initiative!”

Explanation

The quote reveals Willy’s clear favouritism, chiding Happy while defending Biff.
It also demonstrates Willy teaching Biff the wrong lesson: that the coach will applaud Biff’s theft.

Explanation cont.

Miller here introduces the motif of Biff’s petty thefts which will escalate, from the crate of basketballs to the suit in Kansas City, and ultimately lead Biff to jail.
Miller shows us Willy’s responsibility for Biff’s behaviour.

Act One: Key Event Six

We remain in the past and begin to see Willy's reality rather than his constructed version of events.

Key event six

Still in the past, we see Willy and Linda calculate Willy’s earnings and go over the bills they have to pay.

Significance

We see behind Willy’s fantasy world and learn how much he and his family are struggling to make ends meet.

Quotation

“Oh, I’ll knock ‘em dead next week. I’ll go to Hartford. I’m very well liked in Hartford. You know, the trouble is, Linda, people don’t seem to take to me.”

Explanation

We see how quickly Willy can contradict himself as reality intrudes into his dream-world.
At this vulnerable moment, he cannot keep up the pretence to his wife.

Explanation cont.

The quote also reveals the doubts and insecurity Willy carries inside.
He has built his notions of success on popularity and charisma but it is in these areas that he is failing.

1Introduction

1.1Introductions

1.1.1Author

1.1.2Historical Context

1.1.3Setting

1.1.4Social Issues

2Act One

2.1Key Events

2.1.1Staging

2.1.2Key Events 1&2

2.1.3Key Events 3&4

2.1.4Key Events 5&6

2.1.5Key Events 7&8

2.1.6Key Events 9&10

2.1.7Key Events 11&12

2.2Key Themes & Links

2.2.1Foreshadowing & Inevitability

2.2.2Time

2.2.3Settings

2.2.4Family

2.2.5Reality v Fantasy

3Act Two

3.1Key Events

3.1.1Key Events 1&2

3.1.2Key Events 3&4

3.1.3Key Events 5&6

3.1.4Key Events 7&8

3.1.5Key Events 9&10

3.2Key Themes & Links

3.2.1Pride

3.2.2Metaphor

3.2.3Self-Realisation

4Extended Passage Analysis

4.1Act One

4.1.1Staging

4.1.2The Woman

4.2Act Two

4.2.1In Howard’s Office

4.2.2The Final Confrontation

4.2.3The Requiem

5Character Profiles

5.1Willy & Linda Loman

5.1.1Willy Loman

5.1.2Linda Loman

5.2Biff & Happy Loman

5.2.1Biff Loman

5.2.2Biff's Relationship with Willy

5.2.3Happy Loman

5.3Other Characters

5.3.1Uncle Ben

5.3.2Charley

5.3.3Bernard

6Key Themes

6.1Concepts

6.1.1The American Dream

6.1.2Fathers & Sons

6.1.3Nature & the City

6.1.4Success

6.1.5Men & Women

7Writing Techniques

7.1Structure

7.1.1Act One

7.1.2Act Two

7.2Realism

7.2.1Introduction

7.2.2Staging

7.2.3Language

7.3Expressionism

7.3.1Introduction

7.3.2Staging

7.3.3Music

7.4Symbolism

7.4.1The Garden / Seeds

7.4.2Diamonds

7.4.3Alaska & Africa

7.5Motifs

7.5.1Introduction

7.5.2Cars

7.5.3Silk Stockings

7.5.4Money

7.5.5Mythological Figures

8Historical Context

8.1Historical Context

8.1.1Miller’s Family & The Great Depression

8.1.2America’s Recovery

9Literary Context

9.1Tragedy

9.1.1Introduction

9.2Applying Tragic Concepts

9.2.1The Tragic Hero

9.2.2The Tragic Flaw

9.2.3Recognition

9.2.4Emotional Release

9.2.5Chaos & Disorder

9.2.6Revenge

9.2.7Inevitability

10Critical Debates

10.1Introduction

10.1.1Introduction

10.2The Marxist Reading

10.2.1Marxist Analysis

10.2.2The Marxist Reading

10.3The Feminist Reading

10.3.1Feminist Analysis

10.3.2The Feminist Reading

10.4The Eco-Critical Reading

10.4.1Eco-Critical Analysis

10.4.2The Eco-Critical Reading

10.4.3Post-pastoral

10.5Other Debates

10.5.1The Play as Tragedy

10.5.2The Critics

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