Blending of Past, Present, and Future in Arthur Millers Death of a Salesman :: Death Salesman essays

Blending of Past, Present, and Future in Arthur Millers Death of a Salesman The most significant and thought-provoking aspect to Death of a Salesman is its structure. In reading and watching the chance it may appear at first that Miller is relying on the tried moreover true flashback technique in dramatizing the events of the play. In reality, Miller is rattling attempting something much different. He is actually trying to fuse the past, present, and future into, what David Biele has aptly termed, a ceaseless state of NOW. Its not too unlike the Buddhist notion of living in the eternal present - meaning, whether we are conscious of it or not, everything that happens, happens now. If you are ring something in the past you are remembering it now. If you are dreaming of something in the future you are doing in now. Miller describes that state as this Ive never been adequate to(p) to make time real for myself. I cant remember whether something happened two weeks ago or three year s ago. Or when I was in England the last time. The calendar doesnt seem to exist in my head. It all melts together. It always has. Its probably a form of insanity. I thought I would try to write that way - exclusively melt the days, the months and the years, because I really do believe that we move through the world carrying the past and that its always alive in the back of our head. We are do constant references between what we see now and what we saw then, between what we hear now and what we heard then ... i asks a policeman for directions as one listens, the hairs sticking out of his nose become important, reminding one of a father, brother, son with the same feature, and ones conflict with him or ones friendship come to mind, and this all over a period of seconds while objectively taking note of how to get to where one wants to go. The play then becomes an attempt to dramatize the way, to Miller at least, that the mind actually works. In fact, he originally thought of callin g the play, The Inside of His Head. He wanted the resulting form to carry the whole freight of a mans life, moving the play forward not chronologically, in a narrow discreet line, but as a phalanx, all of its elements moving together simultaneously.