To Linda’s substantial chagrin and confusion, Willy’s household, Charley, and Bernard are the only mourners who go to Willy’s funeral. She questions where all his expected business good friends are and how he could have killed himself when they were so near settling all of their bills. Biff remembers that Willy seemed happier working on your house than he did as a salesperson. He mentions that Willy had all the wrong dreams which he didn’t know who he remained in the manner in which Biff now knows who he is.
Charley replies that a salesman has to dream or he is lost, and he explains the salesman’s undaunted optimism in the face of specific defeat as a function of his irrepressible dreams of selling himself. Pleased ends up being significantly mad at Biff’s observations. He deals with to stay in the city and carry out his daddy’s dream by ending up being a leading entrepreneur, persuaded he can still “beat this racket.
” Linda demands some privacy. She reports to Willy that she made the last payment on the home. She apologizes for her failure to cry, because it appears as if Willy is simply “on another journey.” She starts to sob, duplicating, “We’re free …” Biff assists her up and all exit. The flute music is heard and the high-rise apartments surrounding the Loman house entered into focus.
Charley’s speech about the nature of the salesperson’s dreams is one of the most remarkable passages in the play. His words function as a kind of considerate eulogy that gets rid of blame from Willy as an individual by describing the grueling expectations and absurd needs of his occupation. The odd, anachronistic, spiritual formality of his remarks (“No one dast blame this male”) echo the spiritual quality of Willy’s quest to sell himself. One can argue that, to a particular degree, Willy Loman is the postwar American equivalent of the middle ages crusader, battling desperately for the survival of his own besieged faith.
Charley solemnly observes that a salesman’s life is a continuous upward battle to offer himself– he supports his dreams on the ephemeral power of his own image, on “a smile and a shoeshine.” He suggests that the salesperson’s condition is an intensified augmentation of a discreet aspect of the general human condition. Just as Willy is blind to the totality of the American Dream, concentrating on the elements related to material success, so is the salesman, in basic, doing not have, blinded to the total human experience by his conflation of the expert and the individual. Like Charley states, “No man only requires a little wage”– no man can sustain himself on cash and materiality without a psychological or spiritual life to supply significance.
When the salesman’s advertising self-image fails to motivate smiles from clients, he is “completed” psychologically, mentally, and spiritually. According to Charley, “a salesperson is got to dream.” The curious and lyrical slang substitution of “is” for “has” shows a destined requirement for the salesman– not just must the salesman follow the imperative of his dreams during his life, however Miller recommends that he is actually begotten with the sole purpose of dreaming.
In numerous ways, Willy has done whatever that the myth of the American Dream outlines as the essential course to success. He got a home and the variety of modern home appliances. He raised a household and travelled forth into business world loaded with hope and ambition. However, Willy has stopped working to get the fruits that the American Dream guarantees. His main issue is that he continues to believe in the misconception rather than reorganizing his conception of his life and his identity to satisfy more reasonable standards. The values that the misconception espouses are not developed to assuage human insecurities and doubts; rather, the myth unrealistically neglects the existence of such weaknesses. Willy purchased the sales pitch that America utilizes to promote itself, and the rate of his faith is death.
Linda’s preliminary sensation that Willy is just “on another journey” recommends that Willy’s wish for Biff to prosper with the insurance coverage money will not be fulfilled. To a level, Linda’s contrast debases Willy’s death, stripping it of any possibility of the self-respect that Willy pictured. It seems unavoidable that the trip towards significant death that Willy now takes will end simply as fruitlessly as the trip from which he has actually just returned as the play opens. Certainly, the reoccurrence of the haunting flute music, symbolic of Willy’s useless pursuit of the American Dream, and the last visual imprint of the frustrating apartment reinforce the fact that Willy dies as deluded as he lived.