Use Of Formalist Criticism In Arthur Miller's Death Of A Salesman

People have argued about the various themes, symbolism, and most every other element of Arthur Miller’s Death of a Salesman for decades. From the play’s opening scene where Willy Loman (the principle character) states cryptically, “I’m tired to the death” to the play’s conclusion, scholars have dissected most every portion of Miller’s play but are still in disagreement where the overall work is concerned. “Ever since Lee J. Cobb first dropped those sample cases on the stage of the old Morosco Theatre on a cold February night in 1949, the role of Willy Loman in Death of a Salesman has been a magnet to American actors” (Hampton). But even the actors appearing in this legendary play cannot fully agree on much of what Arthur Miller is trying to say in Death of a Salesman. Arguably the theme most prevalent in Death of a Salesman is that of a quest for identity (coming of age). Even though the Willy Loman character is a middle-aged man, the play reveals him to be in search of his true identity in order
The general formalist view also supports the opinion that all the elements necessary for understanding works of literature are contained within the work itself (Kennedy & Gioia). Few dispute such an outlook, but this does leave a lot to interpretation of the meaning of symbols, thematic approaches, and other elements of artistic endeavors. More specifically, the majority of criticism relative to works of literature can be defined as being a matter of opinion. However, where Death of a Salesman is concerned, few dispute that a distinct unhappiness crossing into full-blown depression is clear in the characterization of the play’s primary character, Willie Loman. This thematically defines Miller’s play as a journey of self-discovery (coming of age) as the Willie character endeavors to improve his outlook on life in general throughout the