Bernard

Bernard has been brought up very differently to the Loman boys and this is reflected in his values, deportment and his treatment of others.

Depiction

Bernard, Charley’s son, is seen as a boy in Act One, but as a man in Act Two.
We perhaps share Willy’s “shock” at the sight of Bernard as a “self-assured, young man”, remembering him from Willy’s memories in Act One as the “anaemic” and earnest boy who Willy admonishes as a “pest” when he warns Biff that he may flunk Maths.

$Illustrative background for Reflection of values$ $Illustrative background for Reflection of values ?? "content$

Reflection of values

As a boy, Bernard is dismissed by the Loman father and sons in the same way that Willy dismisses Bernard: “He’s liked, but he’s not well-liked”.
However, Bernard is yet another sign that the Lomans have built their dreams of success on the wrong foundations.

Upbringing

Bernard has clearly been brought differently to the Loman boys and is a much more secure and confident figure than either Happy or Biff.
However, Bernard does not boast of his success, seeing no need to tell Willy that he will be arguing as attorney in front of the Supreme Court.

Respect

In contrast to Willy’s sons who abandon Willy in the restaurant that evening, Bernard treats Willy with care and respect: “Oh, the hell with the advice, Willy. I couldn’t advise you”.

Paternal relationships

The relationship between Bernard and his father is less intense and, as a result, much healthier than the relationship between Willy and his sons.
Charley tells Willy that he “never took any interest” in Bernard but he has clearly instilled “worthwhile” values into his son.

Bernard's modesty

In Act Two we learn that Bernard is now married and a father of two young boys.
However, we learn nothing of his sons.
Bernard has no need to make boasts for them, just as Charley had no need to follow Willy’s example and pin his dreams of success on his sons.

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

Jump to other topics