The works of the other two members of the American playwriting triumvirate, Eugene O’Neill and Tennessee Williams, reside primarily in the psychological worlds of their characters, varied though those worlds are. However, as Miller stated in an interview, not writing “would be like cutting my heart out” (Bigsby, Companion 182). In a 1998 poll of eight hundred theater professionals asked by the Royal National Theatre (Lahr, “Making” 49) to nominate significant twentieth-century plays, of the 188 writers nominated, Miller ranked as the most frequently nominated playwright, and Salesman was named the second most significant of the 377 plays nominated (“NT2000”). If he had not written another play after Death of a Salesman, Miller’s significance as a playwright still would have endured. Some of his plays have received critical recognition those that have not fared well critically nonetheless reflect Miller’s persistent themes and formal experimentation. His writing career spanned sixty-eight years and encompassed many other plays, with, on average, four to six written every decade. However, while accumulating approximately sixty years of productions around the world as well as critical attention and acclaim, the two plays have overshadowed much of Miller’s other dramatic work.

The “Line to Measure From”: Arthur Miller’s The American Clock as a Lesson for the AgesĬoming to Roost Again: Tragic Rhythm in Arthur Miller’s Broken GlassĪrthur Miller’s reputation and stature as one of the three greatest American playwrights of the twentieth century has rested primarily on only two plays he wrote within a four-year period: Death of a Salesman and The Crucible, which premiered in 19, respectively. Uneasy Collaboration: Miller, Kazan, and After the FallĪll About Talk: Arthur Miller’s The Priceīoth His Sons: Arthur Miller’s The Price and Jewish Assimilation Verse, Figurative Language, and Myth in A View from the Bridge “There’s No Place Like Home”: Miller’s “Poem,” Frost’s “Play”Īsking “Queer Questions,” Revealing Ugly Truths: Giles Corey’s Subversive Eccentricity in The Crucible The Freedom of Others: Arthur Miller’s Social and Political ContextĪrthur Miller and the Art of the Possible “It’s All About the Language”: Arthur Miller’s Poetic Dialogue Best Intentions Far Awry: The Family Dynamic in Miller’s All My Sons and Death of a Salesman

Death of a salesman script act 2