Summary
He’s a man way out there in the blue
. . . A salesman is got to dream, boy.
(See Important Quotations Explained)
To Linda’s considerable chagrin and bewilderment, Willy’s
family, Charley, and Bernard are the only mourners who attend Willy’s funeral.
She wonders where all his supposed business friends are and how
he could have killed himself when they were so close to paying off
all of their bills. Biff recalls that Willy seemed happier working
on the house than he did as a salesman. He states that Willy had
all the wrong dreams and that he didn’t know who he was in the way
that 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 certain defeat as a function of his irrepressible
dreams of selling himself. Happy becomes increasingly angry at Biff’s
observations. He resolves to stay in the city and carry out his father’s
dream by becoming a top businessman, convinced he can still “beat
this racket.” Linda requests some privacy. She reports to Willy
that she made the last payment on the house. She apologizes for
her inability to cry, since it seems as if Willy is just “on another trip.”
She begins to sob, repeating, “We’re free. . . .” Biff helps her up and
all exit. The flute music is heard and the high-rise apartments surrounding
the Loman house come into focus.
Analysis
Charley’s speech about the nature of the salesman’s dreams
is one of the most memorable passages in the play. His words serve
as a kind of respectful eulogy that removes blame from Willy as
an individual by explaining the grueling expectations and
absurd demands of his profession. The odd, anachronistic, spiritual
formality of his remarks (“Nobody dast blame this man”) echo the
religious quality of Willy’s quest to sell himself. One can argue
that, to a certain extent, Willy Loman is the postwar American equivalent
of the medieval crusader, battling desperately for the survival
of his own besieged faith.
Charley solemnly observes that a salesman’s life is a
constant upward struggle to sell himself—he supports his dreams
on the ephemeral power of his own image, on “a smile and a shoeshine.” He
suggests that the salesman’s condition is an aggravated enlargement
of a discreet facet of the general human condition. Just as Willy is
blind to the totality of the American Dream, concentrating on the aspects
related to material success, so is the salesman, in general, lacking,
blinded to the total human experience by his conflation of the professional
and the personal. Like Charley says, “No man only needs a little
salary”—no man can sustain himself on money and materiality without
an emotional or spiritual life to provide meaning.
When the salesman’s advertising self-image fails to inspire
smiles from customers, he is “finished” psychologically, emotionally,
and spiritually. According to Charley, “a salesman is got to dream.”
The curious and lyrical slang substitution of “is” for “has” indicates
a destined necessity for the salesman—not only must the salesman follow
the imperative of his dreams during his life, but Miller suggests
that he is literally begotten with the sole purpose of dreaming.
In many ways, Willy has done everything that the myth
of the American Dream outlines as the key path to success. He acquired
a home and the range of modern appliances. He raised a family and journeyed
forth into the business world full of hope and ambition. Nevertheless,
Willy has failed to receive the fruits that the American Dream promises.
His primary problem is that he continues to believe in the myth
rather than restructuring his conception of his life and his identity
to meet more realistic standards. The values that the myth espouses
are not designed to assuage human insecurities and doubts; rather,
the myth unrealistically ignores the existence of such weaknesses.
Willy bought the sales pitch that America uses to advertise itself,
and the price of his faith is death.
Linda’s initial feeling that Willy is just
“on another trip” suggests that Willy’s hope for Biff to succeed
with the insurance money will not be fulfilled. To an extent, Linda’s
comparison debases Willy’s death, stripping it of any possibility
of the dignity that Willy imagined. It seems inevitable that the
trip toward meaningful death that Willy now takes will end just
as fruitlessly as the trip from which he has just returned as the
play opens. Indeed, the recurrence of the haunting flute music,
symbolic of Willy’s futile pursuit of the American Dream, and the
final visual imprint of the overwhelming apartment buildings reinforce
the fact that Willy dies as deluded as he lived.
