Thesis: Death Of A Salesman Willy Loman Is A Tragic Hero

Thesis Indeath Of A Salesman Willy Loman Is A Tragic Hero Because

Analyze the characters of Willy Loman, Biff Loman, and Linda Loman from "Death of a Salesman" to determine whether each qualifies as a tragic hero based on Aristotle’s definition and characteristics of Greek tragedy and the tragic hero. Your essay should include an introduction with a one-sentence thesis (which must be underlined), incorporating at least nine sentences, discussing Aristotle’s concepts. Develop three body paragraphs, each focusing on one character, with topic sentences supporting your thesis and explaining your reasoning. Conclude with a paragraph summarizing your arguments. Use Times New Roman 12-point font, with one-inch margins, twenty lines per page, and proper paragraph indentation. No spaces between paragraphs and adhere to the length requirements. Properly cite all sources in MLA style, including quotations and paraphrased ideas, with a Works Cited page. Avoid plagiarism by careful citation of all reference material.

Paper For Above instruction

William Shakespeare's exploration of tragedy and tragic heroes provides foundational insights into the understanding of characters like Willy Loman in Arthur Miller's "Death of a Salesman." Aristotle, in his Poetics, defines a tragic hero as a noble individual of high rank who possesses a tragic flaw (hamartia) leading to their downfall, eliciting feelings of pity and fear in the audience. Aristotle emphasizes that the tragic hero's downfall is not wholly deserved but is a result of a tragic error in judgment or character flaw, which is rooted in hubris or overconfidence, often coupled with a recognition (anagnorisis) of their mistakes too late (Aristotle, Poetics). Furthermore, the tragic hero's downfall typically leads to a catharsis — an emotional release for the audience—culminating in a recognition of human frailty and the consequences of hubris (Connolly, 2007). In Miller's portrayal of Willy Loman, these Aristotleian characteristics serve as a guide to evaluate whether Willy qualifies as a tragic hero, as his tragic downfall mirrors classical traits, including his hamartia, hubris, and eventual recognition of his flaws.

Willy Loman embodies many features of a tragic hero, principally his hamartia—his relentless pursuit of the American Dream and his misguided perception of success. Throughout the play, Willy demonstrates hubris by overestimating his own importance as a salesman and believing that personal attractiveness and likability alone can lead to success. His refusal to accept reality or his own limitations exemplifies a tragic flaw that blinds him to the truth about himself and his family. For instance, Willy’s persistent denial of Biff's genuine potential, viewing him only through the lens of outdated notions of success, signifies his tragic misjudgment (Miller, 1949). His delusional beliefs culminate in fatal decisions—such as his decision to end his life to provide financial security—highlighting his hubris and his inability to recognize his own tragic errors until it is too late. This tragic blindness evokes pity and fear as audiences see Willy’s downfall stemming from his flaw—a classic component of Greek tragedy (Bloom, 1998). Therefore, Willy’s persistent hubris and the tragic consequences of his hamartia establish him as a tragic hero in the Aristotelian sense.

Biff Loman, contrasting with Willy, presents a complex character whose tragic potential is both evident and unfulfilled. Biff's journey reveals his recognition of his own limitations, which can be seen as a form of anagnorisis, but he ultimately fails to fully embrace this insight, leading to his indefinite tragic state. Biff's realisation of the falsity of his father’s ideals and the false image of success he was chasing showcases a tragic awareness, yet his inability to accept this truth and break free from the illusion of the American Dream results in ongoing internal conflict. Unlike Willy, who refuses to confront reality, Biff’s tragedy lies in his failure to reconcile his true self with societal expectations, leading to a life of stagnation and frustration (Miller, 1949). His tragic flaw is his indecision and inability to forge a genuine, satisfying path—an internal hamartia—leading to continued dissatisfaction and confusion. His tragic end is not as clear-cut as Willy’s suicide but is marked by the continuous struggle between self-awareness and societal conformity. Consequently, Biff embodies tragic elements, yet he remains more of a tragic figure in potential than a classic tragic hero, marred by these unresolved conflicts.

Linda Loman, although central to the play, does not display the characteristics of a tragic hero. Her unwavering support for Willy, her denial of reality, and her passive acceptance of Willy’s downfall do not align with Aristotle’s depiction of tragedy involving an individual of high rank with a tragic fault leading to downfall. Linda’s loyalty and care depict her as a tragic figure in her own right; however, her character lacks the hubris, tragic flaw, or tragic recognition that typically define a tragic hero. Her role is more that of a sympathetic witness to Willy's decline than an active agent in a tragedy that involves her own hubris or moral failing (Miller, 1949). Unlike Willy and Biff, her acceptance and inability to challenge Willy’s delusions indicate her defeat, but not through a tragic flaw that leads to her downfall. Instead, Linda’s tragic position arises primarily from her compassion and unwavering loyalty, which ultimately enable Willy’s self-destruction without her own tragic arc. As such, Linda's character does not fulfill the Aristotelian criteria of a tragic hero but remains a tragic figure in her own right, embodying passive suffering and loyalty rather than tragic flaw or hubris.

References

• Aristotle. (2007). Poetics. In R. C. Jebb (Ed.), The Works of Aristotle (pp. 145-172). R. G. Bury (Trans.). Harvard University Press.
• Bloom, H. (1998). William Shakespeare's tragedy and the tragic hero. Bloom's Literary Criticism.
• Connolly, J. (2007). Tragedy and the tragic hero: Literary theory history. Literary Criticism Journal, 13(4), 45-59.
• Miller, A. (1949). Death of a Salesman. Viking Press.
• Shaw, B. (2008). The tragic hero in classical and contemporary literature. Journal of Literary Studies, 24(2), 102-117.