As population grew, the park. The inevitable conclusion is, of course, that the tragic mode is archaic, fit only for the very highly placed, the kings or the kingly, and where this admission is not made in so many words it is most often implied. In revolutions around the world, these past thirty years, he has demonstrated again and again this inner dynamic of all tragedy. When Miller was asked in what way his plays were related to the events of his life, he replied that in a sense all his plays were autobiographical. Willie's dignity is also challenged by his lack of success in business and in the raising of his son.
The commonest of men may take on that stature to the extent of his willingness to throw all he has into the contest, the battle to secure his rightful place in his world. Biff, the struggling son in Death of a Salesman, faces a similar dilemma. Faced with hardships and troubles, Willy maneuvers in ways that cause his unfortunate outcome. Kings and royalty are often associated with tragedy because their characters have size and therefore have more to lose. Now, if it is true that tragedy is the consequence of a man 's total compulsion to evaluate himself justly, his destruction in the attempt posits a wrong or an evil in his environment.
Tragedy is, by its very nature, about the individual, the tragic hero. Throughout his paper, Miller demonstrates that it should be possible for every reader to be able to identify with the tragic hero. We feel for Willy more than a classical hero, because he is an ordinary person like most of us. In one sense, Arthur Miller is correct in saying that there are no tragedies out there. As we go through the play we see that he does not violet the properties of the universal grammar of a tragedy.
However, he continues, when the struggle extends itself out of the particular family circle and into the lives of each of us, it broaches the questions that trouble all of us: social status, social honor and recognition, success. Is tragedy still relevant, or even appropriate? Oedipus, Macbeth, Lear, Hamlet, Othello or Willy Loman. This is the fatal flaw in these characters, the fact that unlike the rest of us, who accept our position in society without retaliation, they strike out and are willing to lose everything in the battle against what they think is a challenge to their dignity, and their image of their rightful status. You think that's the smart thing. The quality in plays that shakes audiences lies in the fear that all of us have of being pulled away from what we desire to be, and who we want desperately to be in the world. And Job could face God in anger, demanding his right and end in submission.
Even though this guy was poor and did not come from an aristocratic family, the audience watched. The hero will be destroyed at the end of the play, but there must always be the possibility that he could have succeeded and won out against society. This impression is so firmly fixed that I almost hesitate to claim that in truth tragedy implies more optimism in its author than does comedy, and that its final result ought to be the reinforcement of the onlooker's brightest opinions of the human animal. The Greeks could probe the very heavenly origin of their ways and return to confirm the rightness of laws. However, tragedy can reflect another aspect of life: the tragedies of the common people. Sometimes he is one who has been displaced from it, sometimes one who seeks t attain it for the first time, but the fateful wound from which the inevitable events spiral is the wound of indignity and its dominant force is indignation. He shows there that he is a hypocrite.
Merriam Webster Death of a Salesman is a tragedy because the main protagonist is a man filled with unrealistic hopes and dreams that lead to his demise. In no way is the common man debarred from such thoughts or such actions. So, the modern view is that people no longer believe in the possibility of heroes. No… 1433 Words 6 Pages to develop oneself, that person might find that fulfillment is nothing but an unreachable vision that keeps him or her in the worst of places. Miller redefines the to fit a more modern age, and the product of this redefinition is Willie. The protagonist should be renowned and prosperous, so his change of fortune can be from good to bad.
It is time, I think, that we who are without kings, took up this bright thread of our history and followed it to the only place it can possibly lead in our time-the heart and spirit of the average man. Momentary suspension Mystery of the unknown present in tragedy What is Tragedy Not? Willie's peer with whom he evaluates himself is Charley. Like many fathers and career men, Willy took his work home with him. Miller saw this as the pinnacle of drama within the common man. Although the story portrays a tragedy, I believe Willy Loman attempted to find optimism in defeat. This is the fatal flaw in these characters, the fact that unlike the rest of us, who accept our position in society without retaliation, they strike out and are willing to lose everything in the battle against what they think is a challenge to their dignity, and their image of their rightful status.
This very notion that regular people are just as fit to be main characters in a tragedy as royalty was also applied to the audiences understanding of a tragic play. At first, Willy is not thoroughly good or thoroughly bad. This flaw would eventually become his downfall and he would fall from his glory. He makes his family believe that if you are well liked in life you will go far without working hard. In fact, it is the common man who knows this fear best. He begins a life of depriving destitute and everything for him just goes downhill from there.