'For a salesman, there is no rock bottom to life. He don't put a bolt to a nut, he don't tell you the law or give you medicine. He's a man way out there in the blue, riding on a smile and a shoeshine.'
Willy Loman has been a salesman for 34 years. At 60, he is cast aside, his usefulness now exhausted. With no future to dream about he must face the crushing disappointments of his past. He takes one final brave action, but is he heroic at last?, or a self-deluding fool?
Arthur Asher Miller was an American playwright and essayist. He was a prominent figure in American literature and cinema for over 61 years, writing a wide variety of plays, including celebrated plays such as The Crucible, A View from the Bridge, All My Sons, and Death of a Salesman, which are still studied and performed worldwide. Miller was often in the public eye, most famously for refusing to give evidence against others to the House Un-American Activities Committee, being the recipient of the Pulitzer Prize for Drama among other awards, and for marrying Marilyn Monroe. At the time of his death, Miller was considered one of the greatest American playwrights.
احلامك بسيطة عملك بسيط دنياك بسيطة فهل هذا مبرر كافي لترحمك الحياة؟بالطبع لا..فلا مكان فيها للبسطاء ويلي لومان ثرثار مهزار؛ لا يلفت الانظار عاش 35عام يطوف بسيارته المليئة بالعينات على الولايات يسحر الزبائن و عندما تعدى الستين. .و تراجعت قدراته الاقناعية. ◾ اخذ تدريجيا درسه القاسي🔚 "ليس للمرء في هذه الحياة الا ما يستطيع ان يبيعه"و يفطن الى ان الحياة العصرية المتحضرة طحنته بين انيابها
رائعة آرثر ميللر العبقرية مثلما يحلم كل ممثل بريطاني بأداء هاملت يحلم كل ممثل أمريكي باداء" لومان "الذي يجسد الضعف الفردي وسط غابة مؤسسات لا ترحم
ك تحذير لو كنت في مقتبل العمر ستغرقك المسرحية✴ في قبو عميق من التشاؤم الواقعي.. فلا داعي اذن الريفيو رقم ثلاثمائة 💯💯💯
Death of a Salesman is a 1949 play written by American playwright Arthur Miller. It was the recipient of the 1949 Pulitzer Prize for Drama and Tony Award for Best Play.
As a flute melody plays, Willy Loman returns to his home in Brooklyn one night, exhausted from a failed sales trip.
His wife, Linda, tries to persuade him to ask his boss, Howard Wagner, to let him work in New York so that he won't have to travel. Willy says that he will talk to Howard the next day. Willy complains that Biff, his older son who has come back home to visit, has yet to make something of himself. Linda scolds Willy for being so critical, and Willy goes to the kitchen for a snack.
As Willy talks to himself in the kitchen, Biff and his younger brother, Happy, who is also visiting, reminisce about their adolescence and discuss their father's babbling, which often includes criticism of Biff's failure to live up to Willy's expectations.
As Biff and Happy, dissatisfied with their lives, fantasize about buying a ranch out West, Willy becomes immersed in a daydream.
He praises his sons, now younger, who are washing his car. The young Biff, a high school football star, and the young Happy appear.
They interact affectionately with their father, who has just returned from a business trip. Willy confides in Biff and Happy that he is going to open his own business one day, bigger than that owned by his neighbor, Charley.
Charley's son, Bernard, enters looking for Biff, who must study for math class in order to avoid failing. Willy points out to his sons that although Bernard is smart, he is not "well liked," which will hurt him in the long run. ...
تاریخ نخستین خوانش: روز پانزدهم ماه می سال 1976میلادی
عنوان: مرگ فروشنده - نمایشنامه در دو پرده؛ اثر آرتور میلر؛ برگردان عطاءالله نوریان؛ تهران، انتشارات پویا، 1351، در 213ص، چاپ دیگر تهران، رز، چاپ دوم 1355؛ چاپ دیگر تهران، نشر قطره، 1382، در 180ص؛ چاپ چهارم نشر قطره، 1386؛ شابک9789643412471؛ چاپ پنجم 1387؛ ششم 1389؛ هشتم 1391؛ چاپ یازدهم 1392؛ موضوع نمایشنامه های نویسندگان ایالات متحده آمریکا - سده 20م
داستان: «ویلی» شصت و سه ساله، از یک سفر کاری ناموفق، به خانه اش در «نیویورک» باز گشته، و با همسرش «لیندا» گفتگو میکند، به نظر میرسد، که حافظه ی «ویلی» مشکل دارد، گاهی خود را در بگذشته و در یادمانهای خویش خیال میکند، و بدتر از همه اینکه با خویشتن خود گفتگو میکند؛ «ویلی» از اینکه پسر بزرگش «بیف» در کارش موفق نیست ناراضی است؛ و ...؛
این داستان فاجعه ی زندگی مردی است که به گفته ی نویسنده «بر نیروهای زندگی، نظارت و اختیاری ندارد»؛ تأملی است بر زندگی انسانهایی که تنها هنگامی مطرح هستند، که سودی میرسانند، و سپس در خلأ رها میشوند؛ خانه ی او شبیه به زندانی است که او در آن با تکیه بر یادمانهایش کوشش میکند ثابت کند که هنوز هم زنده است، و وجود دارد؛ اما یادمانها، تنها او را بیشتر و بیشتر در بگذشته فرو برده، و باعث میشوند، تا در رؤیا فرو رود، و بیهوده به دیگران دل ببندد؛ شخصیت محوری نمایشنامه «ویلی لومان» یک «بازاریاب (فروشنده)» است، که خیال میکند تنها راه داشتن یک زندگی شرافتمندانه برای خود و خانواده اش، تلاش برای کسب ثروت، از درون چهارچوبهای خرد کننده، و بیاحساس سرمایه داری است؛ او که در پایان توفیقی حاصل نمیکند، با تصادفی ساختگی، دست به خودکشی میزند، تا از آنراه پسر بزرگترش «بیف» که سرسختانه مخالف باورهای پدرش است، بتواند با استفاده از پول بیمه ی عمر او، کسب و کار خود را آغاز کند
تاریخ بهنگام رسانی 05/06/1399هجری خورشیدی؛ 10/05/1400هجری خورشیدی؛ ا. شربیانی
When I was a young kid, I always insisted like a spoiled brat on having one foot wedged securely in the closing door of Paradise!
As the bright light of that paradisal dawn left my world on its ceaseless journey west, I refused to think Paradise was over for me - at least until the fat lady started to sing...
But then, way back in 1960, I sat next to my Mom on a gleaming - though already antiquated - little post-war twin-prop ‘aeroplane’ to Toronto.
The smiling and immaculately pageboy’d stewardess handed out little plastic twin-propped replicas of the airship she was so proud of - to all the jubilant kids on board, in fact - as well as new Life Magazines crammed with photos (many of them in FULL COLOUR) of the laughing JFK and Jackie.
The dour, staid, grim Fifties were over!
Prosperity and the American Dream had RETURNED.
The changes in families we knew were obvious.
Their lives suddenly went faster.
Things suddenly had to be New, Newer or - if you worked hard enough - NEWEST.
Everyone suddenly laughed more loudly.
Togetherness became passé.
But life suddenly became EMPTIER.
Love and caring and honesty became very much less in evidence...
The American Dream was back, and the simple, magical dreams of our childhood were swallowed up in the new world of fast, cheap plastic entertainment and values.
We kids felt cheated.
We had LOST something valuable and extremely important.
And just as suddenly... WE felt lost.
Now, Willy Loman wanted his son to care - but to care about the American Dream - and not about its core values. Just as, ironically, those lost values were now so clearly evinced in his boy’s innocent love, written all over his young face - the simple love of children everywhere.
Willy’s values had been gradually and insidiously displaced - to fall under the cheaply smiling aegis of the Almighty Buck.
“Radix malorum est,” to quote Chaucer.
This is how parents fail their kids. Through a displacement of their deepest values. Then evil begins.
And value displacement breeds alienation, folks.
Cheap lives breed cheap kids. It’s as simple as that.
Instead of resting in the love of our families, we start continually hankering after that eternal carrot dangling from the string.
You know, as a kid myself, I saw FAR too much of that.
So, as adults, my wife and I decided to scale back our lives.
To SIMPLIFY things.
We haven’t owned a car in nearly twenty years.
And we’re happier.
That’s a start.
The other thing that I realized was indispensable is Faith.
Because if you haven’t kept nurturing that, one day your world will crumble, just as it did for Willy’s son, when you see you’ve always just been sold a bill of goods by the world!
But if your Faith is intact on that day, it will stand you in VERY good stead indeed.
For THEN you can then relax and pull back your tightly wedged foot...
For that passageway to Heaven will finally OPEN WIDE AGAIN.
A Classic with a big C. I can see why. It's not a happy story. A story about a troubled family. About getting older and getting cast aside after years of hard work, never having quite made it. About big expectations, never met. Infidelity. About the estranged relationship between father and son. A father, what's he doing? Panicking because he is loosing his job.... loosing his grip on things... on his boys.... hallucinating even?Present and past events or even imagined flow in and out of the story. A tragedy unfolding. Already I think I need to reread it to really grasp the whole story. I was impressed. Although this was not a pleasant read. In the format of a play and of course many famous actors played their part in Death of a Salesman....Death of a Salesman was first presented in a London Theatre on 28 July 1949.
Linda (hearing Willy outside the bedroom, calls with some trepidation): Willy! Willy: It's allright, I came back. Linda: Why? What happened (Slight pause). Did something happen Willy? Willy: No, nothing happened. Linda: You didn't smash the car, did you? Willy (with casual irritation): I said nothing happened. Didn't you hear me? Linda: Don't you feel well? Willy: I'm tired to death. (The flute has faded away. He sits on the bed beside her, a little numb). I couldn't make it. I just couldn't make it, Linda......
A small man can be just as exhausted as a great man.
There's something to be said for waiting until later in life to read certain books. The struggles of Willy Loman would have meant little to my younger, more impatient self. Now, the huge amount of time Loman spends dreaming of his halcyon days strikes a chord with me.
Memory has a way of making everything seem bigger, brighter and better than it actually was. People have a tendency to dwell on the past when the present turns out to be not as they had hoped, and Willy Loman's present is nearly as bleak as it can get.
What's left to say when your boss's son dares to call you "kid"? What are you supposed to do when the children who once idolized you now look at you with a mixture of frustration and pity?
A salesman is got to dream, boy. It comes with the territory.
Hate! Hate! Oh, the hate! Arthur Miller does a beautiful job of conveying the emptiness and meaninglessness of his protagonist's life. It left me wanting to jump off a very tall building if only I could overcome the crushing ennui and the conviction that even ending ones life was too meaningless and futile to contemplate. Maybe that means Miller accomplished what he set out to do, but I don't have to like it.
The only time I saw "Death of a Salesman" professionally performed I was almost 19 and I wept for most of the second act. I have not read or seen it since, but recently returned to it. 16 years after my first encounter with this piece I still am moved by it, but for very different reasons. I guess that is what makes it a classic. The protagonist of the play, the iconic Willy Loman, is a frustrating, loser of a man who frankly has been a cruel fool his entire life. He is jealous of people who succeed, even when their success is because of their own merits, he is an adulterer, and he is a dad who wants to be his son's buddy, not his father. In short, he is everything I dislike. I don't feel sympathy for Willy Loman, and when he died I breathed a sigh of relief for his family who has been relieved of the burden of dealing with him. With the exception of his ever faithful wife, Linda, Willy's sons have already relieved themselves of him (to varying degrees). So the "hero" of the play is not noble, and does not meet Aristotle's definition of a tragic hero. So what is the tragedy? Why is the play so important? I think there are two primary reasons. The first is the relationship between Willy and his sons, especially Biff. Biff and his father love each other very much; they just don't love each other very well. I think there are a lot of fathers and sons who can relate to that dynamic. It made me cringe more than a few times with its poignancy, and accuracy. And watching Biff's frustration with trying to communicate honestly with his father (the fault belonging to them both) was the reason for my weeping all those years ago. The other reason the play is tragic is because although Willy is a nobody (and I think it is his own doing) he was loved by some people who cared deeply about him. Despite a wonderful wife, some loyal friends that he does not deserve, etc. Willy is always looking for greener grass and never content with what is in front of him. To have some truly good things, primarily family love and friendship, and to spit in its face for decades is the tragedy. Willy was a somebody to them, but it was not enough for him. The tragedy of this piece stems from Willy's ignorance, and also is extended for those who loved him. There is a lot that can be said about this play, and I don't pretend to be the final word. These are just some thoughts. Read it for yourself; let some of the lovely prose sweep over you. Pay attention to some of Linda's speeches as even out of context they are wonderful. I don't think you will walk away from "Death of a Salesman" unhappy that you read it.
He leído como tres o cuatro veces esta obra -es muy fácil leer a Miller, lo cual tiene su mérito tratándose de teatro- y, aunque sigo disfrutándola, cada vez le encuentro más pegas.
Miller es un moralista estricto y yo me voy haciendo cada vez más blandito, más comprensivo con nuestras miserias, más indulgente con los pecados que todos cometemos con tanta frecuencia, y más a disgusto con las reacciones extremas que en las obras de Miller tienen los “buenos” frente a los “malos”.
Ahora que he leído una buena parte de su teatro en la edición que sacó Tusquets, “Teatro reunido”, y posiblemente porque andamos todos más sensibles con el tema, por fin, me llama poderosamente la atención el papel que juega la mujer en sus obras. Por supuesto, eran otros tiempos, pero choca bastante el ensalzamiento del papel de esposa sacrificada, sufrida, que profesa un amor incondicional al marido atribulado, al que todo se le perdona, aunque ello suponga negar la realidad y su anulación como persona, cuando no son simples comparsas, meros objetos de deseo, de tentación e incluso de perdición.
The action below takes place in the GR cafeteria.....
GR: Do you mind, is this seat taken? STEVEN: No, please do! GR: How are you today? STEVEN: Fine GR: Could you spare a few moments? STEVEN: Sure GR: So, what did you think of Death of a Salesman? STEVEN: Great!, the venue may have been small, but that just made the whole experience more intimate. I parked myself in a seat somewhere near the back and in the middle, so had a good panoramic view of the stage, the performances from all the cast were good, with Willy Loman and wife Linda being the memorable ones. The play itself, with themes of anxiety and insecurity mainly takes place in the Lomans house and yard, with capitalism and one mans struggle with work dominating the story, it could be viewed as a social criticism, a tragedy, or simply just a psychological study of disintegration, cleverly though, Miller never takes sides with anyone, leaving the viewer to reach their own conclusions regarding the actions that take place. Written in 1949 (and somehow winner of the Pulitzer) it ties in strongly with miller's own family, and their problems during the great depression. It held my attention throughout, and received a deserved round of applause at the end. I then went for a few cocktails, all in all, a good night. GR: Er...I was actually referring to the written play, the book? STEVEN: Oh that, sorry. Well once you have seen the play with your own eyes, reading it was never going to be the same, by act two I was starting to get fidgety, that's not a good sign. 2.5/5 GR: Thank you for your time STEVEN: No problem GR: ...Oh!, just one more thing STEVEN: Yes GR: Could you see yourself reading any more plays? STEVEN: Miller, probably not. Any other playwrights, probably yes. GR: Again, thank you STEVEN: Any time, goodbye.
ME: Good evening and welcome to part 3 of "Newt Gingrich meets Arthur Miller". As you may know, Mr Gingrich has recently been encouraging Americans to read Miller's works. Our third episode is devoted to Death of a Salesman, which--
LAWYER: Hold it right there.
ME: I'm sorry? Is there a problem?
LAWYER: Oh, go on and pretend you don't know what this is about. The "salesman" you're referring to is my client, President Donald Trump. "Death" is too obvious to be worth commenting on. Like so many liberals, you're openly inciting violence as an alternative to reasoned political discourse. We've seen it with Kathy Griffin, we've seen it with that disgusting production of Julius Caesar and now you--
ME: But I'm not.
LAWYER: You're not advocating violence against Donald Trump?
ME: No, not at all.
LAWYER: You fail to convince, Dr Rayner. I've read your pieces on Goodreads. Tell me, if you learned tomorrow that Trump had been shot, how would you react?
ME: Well, I must admit that my first reaction would be delighted surprise...
LAWYER: Ha! Out of your own mouth!
ME: ... but as soon as the initial buzz had worn off, I think I'd be rather disappointed.
LAWYER: Did I hear you say "disappointed"?
ME: Yes, absolutely.
LAWYER: This is absurd. May I remind you that you have posted nearly a hundred anti-Trump pieces over the last couple of years?
ME: I'm almost there. I just need five more.
LAWYER: You've made comments about his sexual assaults on women, his open contempt for basic democratic principles, his flirtation with white supremacist groups--
ME: All true.
LAWYER: You've mentioned his decision to withdraw the US from the Paris Accord, a policy which could cause incalculable damage to the Earth's fragile ecosystem and result in the deaths of billions of people. [He coughs] Allegedly. And you still don't want Trump dead? Dr Rayner, you're not being straightforward with us here. Of course you want him dead. Any sensible person would.
ME: You said it, I didn't.
LAWYER: I naturally meant, any sensible person with your misguided beliefs.
ME: Thank you for the clarification.
LAWYER: So you admit it?
ME: No, I don't. Much as I dislike Trump, I think he's more valuable to us alive.
LAWYER: You'll need to explain that.
ME: Well, Trump is such a vile, universally despised excuse for a human being that everything he touches is automatically discredited in the eyes of a good two-thirds of the world's population. Many right-wing politicians could do a better job of promoting those views. So in fact, I'd rather have him alive and destroying his own party from the inside.
LAWYER: This is absurd. How can you--
ME: Wait a minute. May I ask you a direct question. Do you, personally, like Donald Trump?
LAWYER: I resent this question. Needless to say, I have the highest respect for--
ME: I should add that one of my Goodreads friends goes to the same hairdresser as your wife.
LAWYER: I-- uh--
ME: So I know what you really think of him.
LAWYER: Okay, okay. He's a sack of shit. But he's paying me $1750 an hour.
ME: And if he died tomorrow, he wouldn't?
LAWYER: Uh, of course--
ME: So you're in just the same position. He's worth more to you alive. I rest my case.
LAWYER: You know, maybe we've got more in common than I thought. Let's go get ourselves a drink.
ME: And talk about Death of a Salesman. We kind of forgot what this review was about.
LAWYER: I always loved that play. I could watch the scene where Biff steals the fountain-pen a thousand times.
ME: Do you think the Freudian interpretation is too facile?
Recently Goodreads added a Rereading Feature so members can keep track of all the times they’ve read a book. I wonder how many times I’ve read Death of a Salesman.
The first time I read it was in high school and I didn’t really like it. In later years I developed an appreciation for the play and assigned it to my college literature classes. I even got a VHS tape of the 1985 film with Dustin Hoffman and John Malkovich and watched it with my students.
Now I find myself again teaching a literature course. I needed a play and Death of a Salesman fit my theme. It’s been maybe ten years since I last read it, but each time I read it, at each stage of my life, I get something different from it. I get more from it, so much more.
I want to say that I have no words to describe how I feel on my umpteenth reading (my official reread number), but it isn’t true. I have too many words. I think I could write an essay on the stage directions alone.
Houses Covered by Leaves
“A melody is heard, played upon a flute. It is small and fine, telling of grass and trees and the horizon. The curtain rises” (11).
The whole play is contained in these three little lines. They are like a poem. In all my rereadings I never thought much about these things: the flute, the grass, the trees, the horizon. But this time, they were all I could see.
“An air of the dream clings to the place, a dream rising out of reality” (11).
This time I read the dream instead of the reality.
The dream begins with a melody played upon a flute somewhere in South Dakota. At the beginning of the dream Willy is four years old. He’s in a horse-drawn wagon with his mother. His father plays a flute he has carved with his own hands. His inventor father. His adventurer father. His soon-to-be absent father.
In the dream, Willy and his sons hunt snakes and rabbits in Brooklyn. His sons are strong and handsome. Athletes. Adonises. Willy builds a new front stoop, a porch, an extra bathroom. He puts up a new ceiling in the living room. He makes payments on the refrigerator and the washing machine and the vacuum cleaner. He has a mortgage. He’s proud of how his sons simonize the car.
There are two elm trees where Willy and Biff hang a swing. And the fragrance of lilac and wisteria, peonies and daffodils wafts in through the windows. This is the dream.
In reality, the trees are gone, the grass won’t grow, and the Loman house is boxed in by apartment buildings on both sides.
“The way they boxed us in here. Bricks and windows, windows and bricks” (17).
“The grass don’t grow any more, you can’t raise a carrot in the back yard” (17).
In reality, by the time the appliances are paid for they’re already used up and broken. By the time the mortgage is paid, there’s no one left to live in the house.
I see houses like the Loman house. They always make me a little bit sad. Houses boxed in by apartment buildings on either side. Houses that once had views of the sky and little vegetable gardens in the back. Houses through which the scent of trees and flowers must have wafted. I think of the inhabitants of those houses. I root for them. But I know someday a grandson or granddaughter will inherit the house and sell it so that more apartment buildings can be built. Then the last traces of a dream will fade away forever.
“Only the music of the flute is left on the darkening stage as over the house the hard towers of the apartment buildings rise into sharp focus, and The Curtain Falls” (139)
A Diamond, Shining in the Dark
In the end, I ask myself if Biff was right, if Willy “had the wrong dreams” (138). But no. Willy was lost, but his dreams weren’t wrong. Speaking to his dead brother, Willy says: “...I still feel—kind of temporary about myself ” (51). This says it all.
Early in the play Linda says “life is a casting off” (15) and Willy replies “some people accomplish something” (15). At sixty-three, Willy is still trying to accomplish something. At a time when he should be casting things off, settling into retirement, and enjoying the fruits of a lifetime of work, he is struggling to pay his mortgage, his life insurance. He’s driving to Boston when the effort of putting his valises into the car is exhausting. And he’s doing it all on commission now that his salary has been taken away.
“A man can’t go out the way he came in” (125).
In the dream, Willy plants something. He puts seed into the ground. He walks into the dark jungle like his brother and walks out with a diamond for his family. And as Charley says: “Nobody dast blame this man” (138).
من رو یاد چند تا فیلم و نمایشنامه دیگه انداخت، از گلنگری گلن راس و جک لمونش، تا اتوبوسی به نام هوس و مارلون براندوش - آیا این شیوه در دوره ای مورد علاقه ی روشنفکرهای امریکایی بوده؟ نمی دونم. حقیقتش من گلنگری رو خیلی بیشتر دوست داشتم. با هر دو فروشنده (ویلی لومان و شلی لوین) احساس همدردی می کردم، و توی هر دو نمایشنامه هم واقعیت با سختی و خشونت تمام آدم رو زیر لگد می گرفت، اما داستان گلنگ��ی به نظرم کمتر احساساتی بود. توی مرگ فروشنده عشق پدر و پسری یه ذره همچین بگی نگی هالیوودی بود.
(توی کامنت اول ترجمه یه مقاله در مقایسه دو اثر رو گذاشتم.)
بنظرم بیشتر از اینکه نقد سرمایهداری باشه، نقد دروغ به نفس بود!ا
بذارید از نگاه ایدئولوژیکی که به اثر شده عبور کنیم. چون یک مقالهای هست، چند نفر از دوستان هم ��حمت کشیدن ارجاع دادن. من خوندمش و حقیقتش اصلا خوشم نیومد. چون از حقیقت به دور بود. در درجه اول "ویلی لومان" قربانی نظام سرمایهداری نیست. بلکه بیش از هر چیز قربانی دروغهایی هست که خودش به خودش میگه. وگرنه که پسر چارلی عاقبت بخیر شد و چه بسا خود چارلی. بنظرم بحث رو نباید با محدود کردن به مسائل ایدئولوژیکی به حضیض کشوند.
بهای اشتباهات انسان در زندگی چقدره؟ ویلی لومان سر جمع ادم بدی نبود. اما سالها نه تنها به زنش و بچههاش، بلکه مهمتر از همه به خودش دروغ گفت. میخواست چیزی باشه که نبود. اصرار داشت فروشنده باشه در حالیکه توی کار تعمیرات و کار با دستاش همیشه عالی بود. ولی نمیخواست باور کنه و بخاطر همین زندگی سخت مجازاتش کرد. این مجازاتها متناسب با گناه فرد نیست و همه مشکل آدمیزاد با زندگی همینه. مرد هر بار زمین میخوره. دوباره بلند میشه و با اراده قویتر به راه ادامه میده و دوباره شکست میخوره. دوباره بلند شدن و همینطور یک عمر در جا زدن. واقعا خیلی وقتها خیلی دیر میفهمیم یا حتی تا آخر هم نمیفهمیم که کی اسمش خریت و لجاجته و کی اسمش میشه شهامت و استقامت. بعضی وقتها هم که اصلا چنان دستخوش جبر زمانه میشیم که راه دیگهای نداریم. با این همه اما، دنیا بیتفاوت به همهی ماست. مشکلات آدمیزاد که برخیهاش تو این نمایشنامه به خوبی بروز پیدا میکنه این چیزاست. مشکل اینه که زندگی دکمه برگشت نداره.
در دروغی که توی این داستان روز به روز بزرگتر میشه همه خانواده مقصرن. خصوصا گناه لیندا رو نباید کتمان کرد. لیندا، زن به این نازنینی که همیشه شوهرش رو بالا بالا میکنه و با وجود لمس واقعیت زندگی ویلی، همچنان چیزی به روش نمیاره. بیف که بخاطر خوشحال کردن پدر و مادرش، همیشه دروغ گفتن و پنهان کردن حقیقت از اونها رو ترجیح میده. و ویلی که برخلاف واقعیتهای کاریش، دائما خبر روزهای خوش رو برای خونه میاره. همه به ظاهر نیت خیر دارن. اما در اصل دارن همدیگه رو نابود میکنن. هپی تنها کسیه که حاضر میشه فریاد بزنه "ما هیچی نیستیم" و بت دروغ رو در اون خونه میشکونه. اما افسوس که شنیدن حقیقت چندان برای کسی خوشایند نیست. اونم وقتی این همه سال در وجود تک تک آدمهای خونه ریشه دوونده باشه.
از این "من هیچی نیستم" نباید به سادگی گذشت. پوچی نقطه صفره. میتونه انسان رو به تلاش و تکاپو بندازه. هرچند برای موفقیت تضمینی در کار نیست. هپی رویای کار کردن در یک گاوداری رو در سرش داشت. آخر داستان هم گذاشت و برای همیشه از خونه رفت. آیا موفق میشه؟ مثل همیشه، هیچ تضمینی در کار نیست. ولی چیزی که حتما فلاکت و سرشکستگی رو تضمین میکنه، زندگی در سایه دروغه.
In this book, Arthur Miller's masterpiece, one finds the reason that Miller was blacklisted during the Red Scare. His undisguised longing for a break from the class system and his disdain for the so-called "American Dream" are nothing short of remarkable.
Within Willy Lowman resides the typical American Dream with no reality. Overtaken by industrialism and materialism, this character represents the absolute failure of society's promise of economic prosperity. His life ends in the most tragic and simplest of ways. Sadly, the salesman who had worked his entire life just to be rewarded with "the death of a salesman," surrounded by friends, the spectator comes to the realization that everything he has worked so hard to build has either fallen or is no longer useful.
Biff is representative of a man who can see that one cannot, generally will not, always get what they dream of. He is the man who understands that this promise of the land of opportunity is misunderstood. It is the land of opportunity... opportunity for those who can afford it. However, for those who are just trying to get buy, who do not have a fortune to thrive with; these people are the ones who often work the hardest to come to the end of their life to find out that they will never be given the opportunity that they were promised.
A classic American tragedy, I think that this is one of the most important commentaries on the economic slump that still exists in our current society.
Dreams have a dark side, and Death of a Salesman makes that painfully obvious.
Willy Loman, like all of us, just wants to be successful. And although at the start of the play he's amounted to nothing but failure, it's not from bad intention, it's not from lack of trying, it's from his ignorance. Willy thinks that success is measured in wealth, and the key to that is being well-liked. But he tries to cheat his way to wealth (instead of work hard and learn from his mistakes), so he ends up with no friends (or money). The salesman in Willy likes to say "you're only worth what you can sell." But Willy can't sell a damn thing. He's worthless.
As they say, ignorance is bliss, and this play is really Willy attempting everything he can--including driving himself to insanity--to keep from acknowledging that he's just a lying, cheating, good-for-nothing failure.
What really makes this play stand out is how all of the characters so perfectly embody different aspects of Willy. His wife treats him exactly how he wishes society would, his sons grow up to be just like him (and when he notices it, his fantasy starts to fall apart), and his neighbor and his neighbor's kid are everything he wishes he and his sons were. So seeing Willy interact with these people is really interesting. Also, the dialogue is great:
When I was seventeen I walked into the jungle, and when I was twenty-one I walked out. And by God I was rich.
I really hate giving this book (well, play) one star. I hate giving any "classic" one star, for that matter. It must have gone down in history for a reason, and is beloved by many. In most classics like this, even if I don't like the story, characters, etc., I usually can find that "spark" that has made it so popular for so many years. But I can honestly say that I found no redeeming qualities in Death of a Salesman. None whatsoever. Sigh.
Maybe I would have been more comfortable actually seeing the play instead of reading it, but, for me, this entire play was tedious and boring. I know I sound like a typical high-school student, but it's true. The storyline fell flat, I didn't care about any of the characters, the whole thing just felt bland. And the whole "these characters have fallen victim to the American Dream" idea was worn out before the first act was over.
And, this is probably my inner feminist talking, but all of the women in this play were useless. We have five women in this play. One is a secretary, and has four lines. The next is Linda, who is pretty much a piece of furniture. She gives in to whatever Willy says (because she has "infinite patience," apparently) and adds close to nothing to the play. Oh, and the other three? They're prostitutes. Classy.
«مرگ فروشنده» هم یکی دیگه از کتابایی بود که بدون پیشزمینه قبلی و فقط بخاطر اینکه اسمش رو شنیده بودم رفتم سراغش. مقدمه رو خوندم، با خودم گفتم بازم یه کتاب دیگه با کلی ارجاعات فلسفی پشتش که قرار نیست من ازش سر در بیارم؛ ولی در کمال تعجب عاشقش شدم. موقع خوندن هر جمله، با بند بند وجودم شخصیتها رو درک میکردم؛ مخصوصاً "ویلی"، مردی که از طرف همه رونده شده، نمیتونه از پس خرج خودش و خانوادش بر بیاد، محتاج عشقه و زیر فشار زندگی خرد و خاکشیر شده.
هرچیزی توی دنیا تاریخ مصرف داره ، حتی آدما. بخصوص آدما. ... احتمالا اگر چپ باشی بیشتر ازش خوشت بیاد. من بخاطر نقد جامعه شناختیش به صنعتی شدن دوستش داشتم. ..... گلن گری گلن راس از این بهتر بود بنظرم، ریتم بهتری داشت. ........ میدونستید آرتورمیلر شوهر مرلین مونروی افسانهای بوده؟ چه خفن! ............ کامران یه لینک داره توی ریویووش روی این کتاب، بنظرم اونو بخونید اگر علاقهمندید و تامام.
“I don't say he's a great man. Willie Loman never made a lot of money. His name was never in the paper. He's not the finest character that ever lived. But he's a human being, and a terrible thing is happening to him. So attention must be paid. He's not to be allowed to fall in his grave like an old dog. Attention, attention must finally be paid to such a person.”
I have seen, read and taught Death of a Salesman many times, and loved re-reading it again as part of my tour this year through what I think are his best plays, including The Crucible, All my Sons, A View From the Bridge. (In college I tried out for the part of Biff, but was runner-up, curse you Bruce Mulder! I worked on the lighting for the production, which I loved). I tend to think of this play as one of the greatest plays in American theater, and a kind of dramatic pair with The Great Gatsby as a treatise on The American Dream/capitalism, featuring sad, misguided people (Jay Gatz/ Willy Loman) who use money/appearance/material goods as a means to their ideas of success, both of them involved in infidelity as a central flaw/part of their downfall.
Death is a dream play, very lyrical, moving from past and present, as Willy’s fraying sense of reality in the last 24 hours of his life leads to what the title of the play reveals will happen. So it’s not about plot, it��s a sociological/psychological study, which features father-sons and a strong woman, Linda, who tries to keep the family together.
Hap is the guy most like Willy, and they are never not deluded in their pursuit of the material dream:
“Happy: All right, boy. I'm gonna show you and everybody else that Willy Loman did not die in vain. He had a good dream. It's the only dream you can have—to come out number-one man.”
Both Hap and Willy are (mis)guided by the image of the materially successful Ben, Willy’s older brother who left Brooklyn for Africa and Alaska:
“When I was seventeen I walked into the jungle, and when I was twenty-one I walked out. And by God I was rich.”
Biff and Willy can point to one moment when he was in high school where everything began to unravel, but whereas Willy never sees what he is, Biff comes to a realization:
“I stopped in the middle of that building and I saw—the sky. I saw the things that I love in this world. The work and the food and time to sit and smoke. Why am I trying to become what I don't want to be? What am I doing in an office, making a contemptuous, begging fool of myself, when all I want is out there, waiting for me the minute I say I know who I am!
“I realized what a ridiculous lie my whole life has been.”
Such great language, terrific characters, great dialogue. I was saddened once again by this story of lost American values. Reminded me a bit, too, of a graphic novel by Seth, also about a salesman, Clyde Fans, though the (lost) American salesman is a staple of American literature and worth reading more deeply into: Glengarry Glen Ross (Mamet), John Updike’s Rabbit books, so much.
Book Review Arthur Miller is a fantastic writer. 4 of 5 stars to one his most known works, Death of a Salesman, written in 1949. Most Americans read this in middle school as a required book for their English courses. I am not positive when I read this, but I re-read it as part of my English degree in college. I enjoyed it more the second-time around, but it is still a very rough book to read. Not in terms of bad writing, but in terms of topics and emotions.
It focuses on the Loman family. The patriarch has been a salesman for over 30 years, most of his adult life. But eventually, it ends, and he's forced to face the reality of a 60+ year old man in the mid 20th century between the two world wars, where everything was not so cozy in America. The play touches on themes of mental illness, depression, parenting, suicide, life's purpose, the role of a father and husband, etc. I'm not fond of the main character, nor will most readers be. He's quite tragic and unable to really do the right thing for everyone else. But it's not entirely his fault; this was a bit of an issue in society at the time.
Miller's talent is top notch. He clearly can capture the mental state of his characters, who each struggle with things we all struggle with. They take it to a newer and higher level, but it's still something we can all relate to in our lives, whether it's a teacher, father, uncle, grandfather, or another person in our lives, we have seen this happen. And it's not pretty. The various passages and speeches by each of the characters are quite strong, pushing you as a reader to think about what society has done to us. But then again... we all have choices and should know better. The book makes you think... a lot... and for that, it does an excellent job at being one we should all read, or at least watch the play acted out.
About Me For those new to me or my reviews... here's the scoop: I read A LOT. I write A LOT. And now I blog A LOT. First the book review goes on Goodreads, and then I send it on over to my WordPress blog at https://thisismytruthnow.com, where you'll also find TV & Film reviews, the revealing and introspective 365 Daily Challenge and lots of blogging about places I've visited all over the world. And you can find all my social media profiles to get the details on the who/what/when/where and my pictures. Leave a comment and let me know what you think. Vote in the poll and ratings. Thanks for stopping by. Note: All written content is my original creation and copyrighted to me, but the graphics and images were linked from other sites and belong to them. Many thanks to their original creators.
أحد أقسى مخاوف الإنسان في عصرنا هو ما عبر عنه الكاتب احمد خالد توفيق في مقولته : أخشى أن أستيقظ يوماً في الأربعين لأجد أنني ضيعت حياتي بسبب خيار خاطئ اتخذته وأنا في سن العشرين ، فكيف وقد وجد بطل ميلر نفسه في سن التقاعد وكل ما أنفق أيامه في بنائه كان هيكلاً متزعزعاً لا يصلح لحمل أعباء العمر الثقيل!؟ عمل بلا فائدة، وأبناء فاشلين، ورصيد فارغ من العلاقات الاجتماعية المفيدة، كأنه يمضي في عالم لا يقيم له وزناً أو اعتباراً، يمضي غير مرئياً، مجهولاً، بلا أثر، يحمل فوق روحه ثقل قرارات خاطئة وماضٍ مليء بالندم، مع شعور بخذلان الجسد وعدم الأهلية لخوض الحياة بعد الآن، ومع كل هذا الانطفاء يغدو الموت والوداع مغرياً كما عبر الماغوط، مغرياً كزجاجة السم في راحة القائد المنهزم .
لم أحب الترجمة كثيراً، ومع ذلك واقعية المسرحية طغت على تذمري من أسلوب الترجمة .
ويلي لومان لم يكوّن ثروة كبيرة ولم يرد اسمه في الجريدة أبداً، وهو ليس أفضل شخصية خُلقت ولكنه إنسان يعاني من أشياء فظيعة، فلا بد من الحذر، ولا يجب أن نسمح له بالسقوط في قبره ككلب، علينا أن نوليه مزيداً من الاكتراث ..
خیلی دلم میخواهد یک اجرای خوب از این نمایش را ببینم، بیشتر به دلیل ساختار آن. تماشای جابهجایی زمان در صحنه تئاتر باید جالب باشد. همهی جذابیت «مرگ فروشنده» برای من در همین تاریکروشن صحنه است. اینکه کسی از گذشته میآید، نور صحنه او را روشن میکند و باز در تاریکی فرو میرود. داستان، چندان پرکشش نیست. به ویژه اینکه همه میدانیم ویلی بیچاره قرار است بمیرد. استعداد خودکشی هم که دارد پس پایان از همان عنوان هویداست. اما در هم فرو رفتگی زمان است که در کنار گره گشودن از تعدادی ابهام، نمایشنامه را جذاب میکند.
این روزها انگار که از خوندن نمایشنامه خیلی لذت میبرم...مرگ یک فروشنده هم از اون شاهکارهای فوق العاده بود با یه ریتم معمولی شروع میشه ولی از یه جایی به بعد رها کردنش ناممکن
کل اثر رو میخونید تا انگار که همه جوانب تناقض سیستم سرمایه داری با طبیعت بشری رو لمس کنید...مرد فروشنده ای که تا سالم و جوان و پرانرژی بود خواسته میشد ولی حالا که بیشتر از هر وقت دیگه ای به کمک و حمایت احتیاج داره بی رحمانه از سیستم کنار گذاشته میشه...بی توجه به همه ی عواقب ریز و درشتی که با مرگ و زندگیش سر و کار داره
رفت و برگشت های ناگهانی به گذشته هم جالب در اومده بود.اونجا که مرد واقعن از ادامه زندگی و تحقق رویاهاش ناامید میشه دست به دامن خاطرات میشه...وقتی هنوز بی خبر از اینده ،کورسوی امیدی به تحقق رویاها و ارزوهاش داشت
زندگی رویایی امریکایی شخصیت های داستان چیزی بیشتر از دوندگی برای پرداخت قرض و قوله ها و اقساط نیست...اقساطی که تا میان تموم بشن و ازادی رو با خودشون به ارمغان بیارن دیگه کسی از این لایف استایل جان سالم به در نبرده که بخواد از این ازادی بهره مند بشه
Arthur Miller, one of the greatest playwrights to date, captures the frailty that is the human condition in his Pulitzer Prize-winning-drama, Death of a Salesman. The main character, Willy Loman, epitomizes the average hardworking male, manically struggling to fulfill unattainable dreams.
Loman now reaching the age of retirement and coming to terms with his physical limitations, Miller’s superior use of dialogue easily conveys Willy's gut-wrenching urgency to pass the baton to his disinterested son, Biff.
In the end, convinced his entire life for naught, Willy loses his desire to live in a world where his goals will never reach fruition. There is little mystery here and no action-packed, acrobatic sequences. Death of a Salesman, at its essence, symbolizes man’s need to make his mark in the world, and few literary triumphs have moved an audience nearly as much.
ماذا يقلقك يا صديقى ويللى؟ سأقص عليكم ما يقلق ويللى ويقلقكم أيضاً: - من منا لم تحاصره هموم عمله وهموم يومه وهموم رزقه .. من منا لم يظل حبيس التفكير فى الرزق والمستقبل .. مستقبله مستقبل أبناؤه من بعده .. المستقبل القريب والمستقبل البعيد. - من منا لم تراوده خيالات الحلم الأمريكى .. الحلم الأمريكى بالثراء السريع فى سن صغير والتمتع بالمال وإنفاقه. - من منا لم يخاف على طريقة تعليم أولاده على مستوى ما يتلقون من تعليم, على مستويات تحصيلهم مما يتعلمون .. يجتهد وبشدة فى توفير أفضل طريقة تعليم لأبنائه .. هل هكذا يربيهم؟ .. يجيب تشارلى ويؤكد هذه الجملة مراراً وتكراراً وببساطة أنه دخل الأدغال فى سن السابعة عشر وخرج منها فى سن الحادية والعشرون ويقسم بأنه خرج غنياً جداً .. ففى الوقت الذى يهتم الكثيرون بأن يُحصل أبناءهم العلم كان تشارلى قد دخل سوق العمل وخرج غنياً فالعبرة من وجهة نظر تشارلى والحلم الأمريكى ليس بالضرورة بقيمة ما تتعلمه لكن بقيمة ما تتحصل عليه من مال وأجر حتى لو لم تبذل الجهد المقابل .. فالحياة يا صديقى ليست مُنصفة تماماً فقد تعطى من لا حيلة له ولا جهد له ولا موهبة لديه وتمنع من يستحق. - أهم همومك أنت وأبنائك أنك لم تربهم على جمع المال فينفر منهم المال بالرغم من أنك قد ربيتهم تربية حسنة ونشأ كلاهما على العمل الدؤوب ولكن المال ينفر منهم فهم لا يستطيعون جمعه فى الوقت الذى يتهافت المال على من هم أقل منهم موهبة وبذلاً للجهد. - تؤذيك نظرة أبنائك لك وإحساسهم بعجزك عن توفير متطلباتك بعدما تقدم بك السن وعملت لنفس الشركة ناكرة الجميل لمدة 36 سنة.
ويللى: الأب الستينى الذى يتحصل على قوت يومه من البيع بالتجوال فيظل يجتهد ويذهب هنا ويجئ هناك ويتأرجح قوت يومه بناءاً على نسبة مبيعاته فيوم يبيع كميات كبيرة وأيام لا يستطيع أن يبيع ما يسد احتياجاته .. يعيش ويللى أزمة ما بعد الستين .. إحساس العجز وقلة الحيلة وقلة القيمة وأنه غير مرغوب به حتى من أبنائه .. لدى ويللى عقدة الإحساس بالذات الزائدة فهو يبالغ كثيراً فى إحساسه بأهميته وبحب الناس له ويتمنى لو يحظى أبنائه بنفس الإهتمام والحب من الناس .. ظل يكد طوال 36 عاماً من حياته بالرغم من أن غيره حصل على الماسة المرغوبة – الثروة – فى غضون 4 سنوات وفى مقتبل عمره .. تمنى فى النهاية لو حقق ذاته فى أبنائه تمنى لو حصل أحدهم على الماسة. بيف: الابن سئ الحظ الذى تنقل بين الوظائف ولم يحقق نجاحاً يذكر ويصل لسن ال34 بدون حتى تكوين أسرة. هابى: الأخ الأصغر الذى يكسب جيداً ويستأجر شقة مريحة وجميلة وينفصل عن أبويه بحياته الخاصة ولكنه فى الوقت نفسه يكره استعباد أصحاب الوظائف له فيقول فى اقتباس هو الأروع من هذه المسرحية العظيمة: مسرحية عظيمة من أجمل ما قرأت هذا العام أرشحها لجميع الأصدقاء.
We all have random, embarrassing gaps in our literary educations, and this has definitely always been one of mine. Not quite sure how I managed to earn an English major without reading this classic, but here we are. You're welcome to unfriend me as a GR imposter any time.
Finally sat down to read this ahead of seeing the new Broadway production earlier this afternoon, starring Wendell Pierce ("Bunk" on my favorite TV show of all time, The Wire) as Willy Loman.
I can only imagine the brainstorming session between ambitious Broadway producers trying to figure out how they could possibly make one of American Theater's most depressing stage plays of all time even MORE soul-crushing and bleak.
I kid, though. It's a fantastic production, and I strongly urge anyone who'll be in the NYC area between now and January 15th to make an effort to see it.
As far as I could tell, not a word of Arthur Miller's original 1949 classic was changed, but telling this familiar story through the fresh lens of the Lomans as an African-American family adds a whole new undercurrent of pathos and tragedy and rage to what was already a pretty grim and unsparing warning about the perils and pitfalls of the American Dream. Amazing how this simple change of context and identity can add so many illuminating and unsettling new layers of meaning to an otherwise static text.
As far as Miller’s written plays go, I'd probably give The Crucible: A Play in Four Acts a slight edge, but this was still a quick read that packed a powerful emotional punch. The volatile father/son relationship at the core of this story also hit close to home, and my only complaint about the current Broadway production is that the actor playing Biff portrays him a bit too broadly and comically for my tastes, diluting some of the raw tear-jerk potential on the page.
I have heard the many references movies and people make to this play, but I didn't know the story. This is a complex piece of writing about aging and dreams not being achieved. I want to see this to see how it all works on the stage. There is so much going on. Time is blended and played with here by Willy. Everything that is going on in his head along with the present all swirl about so that he and us are just a little confused as to what is now, what is past, and what is happening. I mean we know what is going on, but it is so well done.
This is a family drama. It is not uplifting really. Yet, there is something about this play that sits with me. It is a sad piece. I must say, I much prefer a happy ending, but I really appreciate this story. I think it’s more famous as a title than people actually knowing the story, at least in my generation. I hope it’s not forgotten as there is a lot of truth in these lines.
Biff and Willy Loman are father and son and they don’t get along. Happy is the 2nd son and he is much like his father. The mother is trying to keep them all together and going. We find out that Willy is rather delusional in his positive self-talk. He doesn’t see who Biff really is and we see some secrets from his past come up. There is hope for the future and blame for the past passed around. Everything swirls together. It really is a masterpiece Arthur wrote.
I think I need to read some more plays. This was a lot of fun and who knows what else I’m missing out there. I’m sure whole libraries have been written about this play and I am not going to go into a whole lot about it. This play touched something in me and I think that’s the important thing.