Given Circumstances: Political and Social

by Amy Szerlong

Political

Given the time period in which the play is set, it is clear that the United States is in a strong position politically speaking. After the victory of World War II, the U.S. has a great deal of power and influence on the world stage. In the years after the war, Democrat and former Vice President Harry S. Truman is elected president in a historical election in which he narrowly beat Thomas Dewey, Republican.

This election is important in the world of Death of a Salesman based on Willy Loman's moral stance. Willy believes in independent achievement to rise to a position of distinction in the world, success by "pulling yourself up by your bootstraps." These philosophies are considered conservative, or traditionally republican in nature. This is important to realize since the current president is a democrat – signaling that Willy's views are considered "traditional" or possibly "old fashioned."

Social

There are three strong social circumstances in the play, mainly surrounding class, gender, and age.

Class:

As World War II ended so did a time of struggling and saving in order to "help our troops!" There were many initiatives in wartime that kept Americans from buying certain products, or encouraged them to grown their own vegetables and collect cans and bottles to go toward the war effort. Naturally then, in post-war America, there became a strong focus on materialism and wealth. It no longer was about the hard work or the struggle to succeed, but merely the benefits that wealth could afford you. This is completely evident in Death of a Salesman as well, as most of the characters that are considered Willy's peers are defined by what they own.

Most instances of this materialism are exhibited in Willy's discussions with or about Ben, Charley, and Howard. In the flashbacks with Ben, Billy's brother who "was a millionaire by the time he was twenty one" Willy often begs Ben to come and visit again to which Ben replies "I'll stop by on my way back to Africa." In a later scene Willy asks Linda, if she remembers when Ben "gave you a watch fob with a diamond in it?" To which Linda replies, "You pawned it." This is an illustrious description of Ben's class status as he is both able to travel to Africa as well as purchase a gift that had enough value to serve Willy's family.

Howard, Willy's boss, also provides subtle hints to membership in a higher class than Willy. In the beginning of the scene in which Willy goes to see Howard for a new position in the company, most of the scene is taken up by Howard showing off his new voice recorder. While he is playing back the tape, the tape stops to which he says, "The maid kicked the plug out." Clearly Howard has the ability to pay for a maid as well as recently developed piece of technology – while Willy is asking for fifty dollars a week to "get-by."

Charley though has the most vivid examples of his class status based on material goods. In the first scene Charley is in, Willy and Charley are playing cards. Willy asks him if he's seen the ceiling that he's put in, to which Charley replies, "To put up a ceiling is a mystery to me." But ultimately it's Willy talking about Charley that better articulates his class status. While Linda and Willy are discussing what payments need to be made, Willy gets frustrated. "Whoever heard of a Hastings Refrigerator? Charley bought a General Electric it's old and it's still good€¦once in my life I would like to own something outright before it's broken" (77). So although Willy's challenges in being able to pay for some of his purchased items articulates his economic circumstances it is the brands and types of items he actually owns that describe his class status when compared against his peers. In the context of the times, it is clear that everyone's wealth is defined by the items they own – in brand names and actual cost. Willy clearly cannot compete in this area when compared against his peers, putting him in a lower social class.

Gender:

What is most notable about the roles of gender in Death of a Salesman is that it is clear throughout the text that women are treated as second-class citizens. There are also only two types of women seen in the play, those that may be classified as "working girls" and mothers. The "working girls" referred to are those that Biff and Happy go after. While Biff and Happy are talking in the bedroom, Biff says "I'd like to find a girl – steady, somebody with substance" (25). It is clear at the play goes on then, that the girls the boys have been seeing are not the type of girls they bring home to mom. The girls in the restaurant that they pick up during their dinner with their father agree to go with them based on Happy's stellar pick-up line that he sells champagne. Happy then even goes as far to ask, "Do you sell?" which is a not-so subtle double entendre, and even though the girl says no, the fact that he even asks says a lot about him and the girl.

Similar to the women in the restaurant is the woman in Boston from Willy's past. This girl is urging Willy to open the door while they're in a hotel room together, and when Willy finally agrees to get the door, he says the following: "All right, stay in the bathroom here, and don't come out. I think there's a law in Massachusetts about it, so don't come out." There is nothing in the text to prompt the mention of a law, unless Willy is referring to the fact that SHE is against the law in Boston, i.e. is a prostitute.

Contrasting to all of these women is Linda, who is seen as the stereotypical housewife. Many women took jobs during the war to fill positions left by men who were fighting oversees, and although many were "sent back to the kitchen" when the troops returned, it began a chance for women to emerge in the working world. In the text there is no evidence that Linda was one of these women. However considering her family is in a financial struggle, it is interesting that she did not seek work while there was a movement for women to work outside the home. However there is evidence that shows that she is there solely to support Willy and her family, fulfilling her traditional gender role as the capable wife and mother.

Age:

Although this is a social issue that is somewhat easily overlooked in comparison with the other two, there are very strong examples of ageism in this play, mostly in regards to Willy. Toward the end of the play when Willy goes to see Howard and Charley he has two encounters that shows intolerance for the fact that he is aging. The most prominent example of this is in his discussion with Howard who is clearly delaying firing Willy. The reason he is firing Willy is because Howard feels that Willy "needs a good long rest." He asks Willy where his sons are and why can't they support him – even though it's clear that Willy still wants to be able to support himself. He states "I put thirty-four years into this firm, Howard, and now I can't pay my insurance! You can't eat the orange and throw the peel away – a man is not a piece of fruit!" This is probably the strongest example of the discrimination Willy faces due to the fact that he feels discarded. Although there is evidence that Willy has boasted about his accomplishments, Howard doesn't not contest the length of time Willy has worked for the firm, which leads to the conclusion that Willy is one of the oldest members of the company, and though Willy is in a rough state, firing him now still seems extreme.

Then when he goes to see Charley, there is a line that hints at this same issue though it is much more subtle. While he is waiting to see Charley, Willy talks with Bernard, his nephew who is around the age of Biff and Happy. During the discussion, Willy gets fairly emotional and Bernard tries to comfort him by saying, "Take it easy, kid." Although "kid" is used as a term of endearment here, it is a term that is usually used by someone older to someone younger. By Bernard using this term, it does not show much respect for his elder and shows that Bernard views him as child-like or possibly simply incompetent. Although this is a very minor example in comparison to the scene with Howard, the fact that it is used makes it sound like Bernard is talking down to Willy, implying a lack of respect for him.

Religious will be following…later.

Given Circumstances: Geo, Date, Economic

by Paul Kappel

Geographical Location:

The play is set in Brooklyn, a neighborhood (and one of the five boroughs) of New York City.  Brooklyn is known as being a hotspot for many different cultures including Italian, Russian, Irish, Polish, and German Americans. Although this is the physical location for the Loman home, Willy’s imaginary conversations occur in and around New York City and Boston.

Date/Year/Season/Time:

Late 1940’s, taking place over the course of one day.

Economic Environment:

Willy Loman, as a salesman is living soley off of his commissions, and is clearly not able to make ends meet as he frequently seeks loans from Charley. The economic environment is the keystone of this work, with much of Willy’s frustration and agony centering on wealth.

Towards the beginning of the play, we see Willy’s conversations with Ben, his wealthy brother, who had millions by his 21st birthday- Willy is clearly extremely envious of this fame, and although being unable to replicate it for himself, seeks to pass the wisdom to his sons Biff and Happy.

One of the strongest motifs in the play is Willy’s desire for his children’s financial security, something which he will never know. In his internal conversations about their planned sports franchise in Florida, he dwells on the duo turning a profit and making money. Willy does never discover this for himself though and remains stuck in his economic class without ambitions for his own success.

It is likely that due to his brothers amazing and unbelievable ease of making money paired with his back breaking and agonizing over every cent which passes through his wallet, that we find the motivation of Willy’s character.

Refinement

I have discovered the "hard way" that when I look at the Blog posts under the various categories, the program tells me when it was posted but not who posted. Everyone is identified in the main Blog just not within the categories where I plan to  look for the development of your group’s assignment.  Therefore, please identify yourself at the beginning or end of each post. I realize that this will lead to double identification on the open blog but it will help the grading process which I assume you will all appreciate.
Thanks,

Walter

Categories for Hodge Analysis

I have added the categories for your groups to use in the Hodge Analysis. Also, I have posted an additional Hodge Analysis page that I have labeled, "Template." You can "edit" this page for your final submission or you can create your own page for your group as Paul Kappel did for his group in the Aristotelian Analysis. He told us how to go about this in class today. Either way is acceptable. This information is in Blackboard as well.

Some other perspective in & of thought in Medea.

late as I am to post, I am not so, in terms of the ‘thought’ of what I’m writing. (BEWARE: this was written under circumstances of major stress, that’s why it might come a bit too acid.)

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Part III (Thought). Group Project.

Alejandro's Part:

In consideration of the group grade I will not address particularities about the Aristotelian Analysis, for it is clear by now that we all know it. It escalates, reaches the climax and starts unraveling the gist towards the end in a slower, much slower pace. Medea, she is so great, for it represents not only women's struggle in the historical perspective, but rather and furthermore, the always combating human passions.

Passions, desires the gist of us all. In her aim there is no reason. Her reasoning, ever so bright, has been blinded by the red lights, fleshy, humanly tender and emotionally susceptible, of her womb insides. Her insights, are no to be undermined, nevertheless.

What Euripides tells in this story –story for the sake of thinking of thought and not of parts and €˜play'- is how a woman is, in terms of her position in society, analogous to the larger audience that is and was to attend the wine, and much more, festival of Dionysius. The Greek had, as much as we have today, a very clear power structure. Although it differs in terms of €˜to-whom-it-is erected', in terms of alleged responsible deities, it speaks, loud and clear, about what it is to be the underdog.

In every tragedy according to our friend, the teacher of my GREAT antecessor, the great characters are, for I cannot avoid them in thought, so full of attributes. Like Medea, who got the Golden Fleece and €˜bla, bla, bla', is so great as her downfall in terms of glory. The sort of consistent inconsistency and vice-versa, where the great will be the lower ones and the lower ones the great, eventually an according to the development of the action, empowers the playwright and his message. It makes of what is to be said, what is to be homage or criticized, susceptible to interpretations. And the interpretations are what will make a play great or awful, succeed or fail.

Analogous to all the rest of the parts of the Aristotelian analysis, thought in Medea, is the power of its elements, combined, and the ability, example of all great Tragedies, to take everything to its maximum. Take these elements of the play, character, plot, language, spectacle, €˜bla bla' to a point where it will altogether collide and collapse, relentlessly, so the result of interpretation IS THOUGHT.

Provoking and poking. Analogous to this analysis of thought in Medea, the script, there is one analysis of thought, in terms of transcendence, of Medea the €˜Greek' play –obviously, in this analysis.

VI. Spectacle (first)

VI. Spectacle

The Greatest Spectacle:

After the extraordinary hardships which Medea faces throughout the play, we come across the ending when she "appears in a winged chariot, rising above the house. The bodies of the two children are visible in the chariot." Interestingly, over the past 1570 lines of the play, the stage directions are almost never this specific or elaborate. Showing that Euripides has literally saved the best for last, perhaps to shamelessly present a big ending, the rising chariot is the epitome of spectacle in this play.

Although there would be no such chariot in the ancient theaters, it is likely that Medea herself would be lifted from the stage level by the deus ex machina (literally, god machine) and the childen's bodies would be thrust forth on a rolling wagon from the skene in the rear of the orchestra.

By creating such a spectacle, Euripides also highlights the importance of this event: Medea has killed her own childen in order to free them from the terror of the world which has been created for them. Her actions display her insanity, and her relentless pursuit of revenge against Jason.

 

Setting and Costumes:

The unique Greek theaters which seated many thousands called for very simplistic yet very clear design choices. Instead of elaborate costumes, the performers would wear large bold costumes which allowed even the farthest spectator to be clear on who is who. Due to the widely acknowledged "three-actor rule" (whereby three actors played the roles of all the characters in a play) the costume and mask changes would need to immediately reflect differing characters. It is also widely accepted that the performers would wear a type of stilts to make them "larger than life" leading to two interpretations: the actors could be better seen and heard when higher, but also became almost godlike or unrealistically large- adding to the spectacle of this world.

 

Entrances and Exits:

In the rear of the orchestra section was the Skene, a large building which served as a universal setting for Greek Theater. The sometimes elaborate building would generally have a major door in the center (for palace settings) as well as machines which hoisted actors above the orchestra section. Some characters may have entered this way, but most, including the chorus, would enter on ramps adjacent to the orchestra area. These eisodoi or parodoi would be used for entrances by characters such as a messenger or soldier.

How did the actors move:

Simply, the actors moved in large, overstated motions. In order to make the play as clear as possible for the large audiences, subtlety was not an option for the ancient Greeks. But what this also meant  for the performance was that the plot had to be appropriately planned for this style of acting. Performers carried out sometimes-long speeches with highly clear emotional intent. This style is a crucial part of Medea. As the plot continues and Medea's situation worsens, emotions become increasingly polar and disjointed, making clear the protagonist and antagonist's intentions.

IV. Sound (compiled and edited)

V. Music/Sound

The Use of Sound in Medea

Eurypides uses sound to great effect in Medea. Perhaps most prevalent is the fact that all the women are played by men, most likely talking and singing in a high pitched falsetto, giving the play a high, screeching tone, which would certainly put the audience on edge. This would add to the tension, and provide an exaggerated contrast between the men, speaking in their natural voices, and the women in their falsetto. This also influences the musical nature of the play. As compared to other Greek tragedies where the chorus would have been intentionally all male, Medea would have a very different sound, a much more feminine sound, as would be fitting for one of the few Greek plays with a female protagonist.

            The language Eurypides uses helps the audience understand her and her actions, as well as be able to empathize with her. Words of destruction, such as "kill," "broken," "refugee," "sick," "hate," "enraged," and "starves" all set the stage in the first 20 lines of the play. The audience instantly knows that Medea has suffered horribly, and now has every right and reason to take revenge for the wrongs that have been done to her. These same words are used often throughout the play, especially "hate" and "betrayed" and give us great insight into the total fury and single mindedness of Medeas later actions. Jason's words, on the other hand, help us realize just how disconnected he is.  He is, as the Chorus says "ignorant beyond pity."  Jason thinks he is being "generous," and he somehow thinks leaving his wife for a younger woman makes him her "advocate."

            Eurypides carefully emphasizes the scene where the children are slaughtered by having it be the only time we hear them speak. They are on stage for many scenes, but they never do anything but watch, silent and obedient while their family falls apart around them. When they finally speak, it is because it is their only hope of saving themselves; it is too late for their family. They cry out, with young innocent voices, pleading for help in what is perhaps the most tense moment of the play. This tension is further heightened by the fact that the audience cannot see what is happening, they can only hear it. They are forced to rely on sound alone, and that sound for those few lines becomes the only thing that matters. One almost wants to watch Medea kill her children just to know what is actually happening behind that door instead of being denied perhaps our most important sense: sight. The audience becomes blind to the action of the play, as Medea has embraced her blind rage.

 

Social Implications:

In the last lines of Medea, Euripides uses the verbal interaction between Jason and Medea to show a reversal in the stereotypical gender roles of the time.  Although Medea is a goddess, she represents a strong, unyielding female role that has power over her male counterpart in their relationship.  Moments before the final grand spectacle, a distraught, weakened Jason is powerless to the will of Medea.  He raises his voice (indicative of his losing all authority and pathetically lashing out for some form control) and demands that he be allowed to have his children back.  Yet Madea is unwavering and persistent.  Unlike Jason, she "wastes" no words and provides a simple, rational-sounding message that reflects her supremacy.  This kind of social commentary is interesting because women, who were rarely awarded the liberties of men at the time, were allowed to attend the plays at the Dionysus festival.  It is possible that Euripides was sending a subtle message of hope and pride to all of the oppressed female members of his audience.

 

Dialect:

Euripides was celebrated for his simplistic use of language which reflects a more realistic dialogue in the character's expressions.  Although he did not win as many first place awards as Sophocles or Aeschylus at the Dionysus festivals, his work was popular to an audience which was able to recognize their own dialects and accents on stage.  Unlike other tragedies of his time, Euripides's work was not diluted by unrealistic, grandiose phraseology which often had a deleterious effect on the listener's comprehension and ability to interprate the plays.

 

Physical Realities of Sound in Ancient Greek Theater:

Ancient Greek theaters were specially constructed to perfectly suit the art which they housed (although without roofs). The multi-thousand-seat theaters were built into hilsides to allow for minimal construction and also excellent accoustics.

In today's theater, sound is almost always electronically amplified to permit better hearing by the audience, but not having this as an option, these grecian temples had to be constructed perfectly.

By encircling the orchestra  with a mathematically perfected design of wooden or stone benches, sloping upwards away from the performance, the ancient architects nearly mimiced the way that sound travels as it spreads. This near-perfect acoustical environment allowed the actors' voices to travel all the way to the last row of seats.

Also, the Skene buidling which stood behind the orchestra may have assisted in the amplification by reflecting voices and sound towards the thousands of audience members. This arrangement meant that the words which were spoken and sounds of music and dancing were clear such that their importance could be heard accurately.

The theaters of Ancient Greece enormous, when, for example, the nearest seat was almost 10 meters away from the performer, large movements and loud voices were critical to conveying the full story.

As such, it is widely accepted that the performers would wear very simple, plain masks which made their facial features more clear and obvious for the audience to see. Some theater historians assert that these masks also had a type of megaphone built in for amplification, although this point is disputed.

In conjunction with their enlarged faces, the performers were often on stilts and wearing heavy robes of fabric to accurately convey their character. These amendments to their body meant that every move they made and every sound they created needed to be worth it. There was no "stage whispering" in this theater which limited but also inspired Euripides to write plays with more dynamic and complex plotlines, ones filled with action and confrontation to futher add to the experience.

In addition, the chorus of some twelve men (playing women in Medea) would constantly dance around the orchestra (derived from the Greek term for dancing) during their scenes. The dancing was entertaining but also allowed the group to spread around the wealth so to speak of their odes, so that all might be privy to hearing their sound and seeing their dance.

Compiled Medea Plot

I have compiled the previous lists of the plot with my own and made a master list.  If anyone would like to add or change it please feel free.

I agree with the decision of the inciting incident being Creon’s offer of Glauce to Jason.

The Plot of Medea

·        Jason leaves Medea

·        Nurse grieves for Medea's fate. (Beginning Exposition)

·        Nurse worries about Medea's reaction to Jason's decision to marry Creon's daughter.

·        Tutor warns the Nurse that Creon will exile Medea (Complication)

·        Nurse sends  the children inside to hide from Medea and her overwhelming and vocal despair

·        Nurse warns Medea not to overstep her bounds to prevent punishment from the gods.

·        Chorus attempt to soothe Medea's grief.  Chorus warns Medea not to act to severely or rashly.

·        Medea prays to the gods for revenge for the unfaithfulness of her husband.

·        Medea addresses the chorus and request that they not reveal her plan.  Chorus agrees that Jason deserves punishment for his actions.

·        Creon banishes Medea and her sons.

·        Chorus agrees with and understands Medea's anger.

·        Medea manipulates Creon into letting her and the children stay for one more day.

·        Medea decides on the plan to poison everyone.  She calls on the goddess of black magic to assist her.

·        Chorus supports Medea and her decision.

·        Medea argues with Jason. Medea accuses him of being an unfaithful liar, and he berates Medea for not understanding. (Complication)

·        Jason offers Medea financial support during his families exile.  She refuses.

·        Chorus curses Jason that he will die unloved and friendless.  Chorus preaches of the burden and suffering that comes along with love.

·        Aegeus pledges to house Medea and her children in Athens in exchange for Medea's magic.

·        Medea solidifies her plan of murders.

·        Medea sends the Nurse to bring Jason.

·        Chorus disagrees with Medea's plans and they mourn the unevitable deaths to come.

·        Medea trick Jason into trusting her and letting the children stay.

·        Medea sends the children to Glauce with the elaborate, poisoned gifts.

·        Creon and Glauce die from the poison.

·        Chorus condems Medea's actions, but accuses everyone of being in the wrong.

·        Chorus begs Helios (the sun-god) to stop Medea from killing her children.  Chorus speaks of the burden of having children and the pain they cause.

·        Messenger enters and warns Medea to flee as they have identified her as the cause of Creon and Glauce's death.

·        Medea says goodbye to her sons as she must leave.

·        Medea kills her sons (climax).

·        Jason discovers his dead sons. (recognition).

·        Jason mours the death of his sons.  He wants to bury them.  (reversal).

·        Medea does not let him and flies away in the chariot of Helios with the bodies of her dead children.

·        Jason exits to bury Creon and his new wife. (new stasis).

·        Chorus ends the play by stating that the Gods act in mysterious ways.

Medea adheres to the unities of Greek drama and therefore has an intensive plot.  Every complication leads to a heightening of Medea’s intense emotion; every retaliation as a result of that emotion has devastating effects on others.  The main idea of the play, however, is the cause and effect which takes place as a result of Jason’s thirst for fame.  He is not grateful for what he has and grasps for things beyond his means.  Consequently, Jason is punished for his hubris by losing everything he originally had.

The List of Plot, including Complications

Inciting incident-  I agree that the inciting incident is definitely when Jason leaves Medea.  Not that Creon's offer didn't cause him to leave, but as Glen said, he had a choice.  This specific choice set the play we read into action.  Had the offer been the inciting incident, we would have a play about Jason's choices.  The stasis disrupted would have been Jason's view of his home, not the home that he leaves.  Beginning Exposition-  People generally have this covered.  Medea and Jason met when Jason sailed to find the Golden Fleece.  She helped him get it, and they fell in love.  However, they were exiled and came to live in Corinth, where they were accepted as equals of the people in the city and gained their place.  Creon is the ruler of Corinth and has a daughter, Glauce, whose hand in marriage was just offered to Jason by Creon.  Jason accepts this offer, beginning the story.  Also:  Medea is sneaky, possibly magical, and has two sons by Jason.  She is a descendent of the Sun God (Apollo/Hyperion), and this could possibly be Euripides' way of telling the audience not to mess with the Gods. Complications-  The goal of the central character (Medea) is to have her revenge on Jason for breaking his marriage oath to her.  The first and most obvious problem is tha Medea doesn't have much time to extract her revenge.  Though she is given one day, she has a very short period of time to do what she intends to do.  This is a climactic play, implied by the amount of time elapsing.  Another point of stress comes from Medea's safety as she is carrying out her plan and afterwards as well.  This complication is Aolved by Aegeus' promise of asylum in Athens in exchange for her "powers."  I'm not sure about other complications, maybe her children are a complication to her plan but it seems like they are simply another accessory to her plot.  Plus, if they are a complication she gets rid of said complication pretty easily. Crisis-  Not a lot to say, the person who did crisis covered what's going on.  The physical action that one would call the crisis is the poisoning of Glauce, which causes her and her father's deaths.  This leads to her full destruction of Jason's life. Climax/Reversal-  Again, already been said by others, but the climax is the realization of Medea's revenge.  She murders her children, his children, and thereby ends his legacy.  She emasculates Jason, here, by destroying his lineage, his blood line.  It seems that for most of the time before the play began Jason was always taking from Medea, but now the roles have reversed and she is the one taking from Jason.  The position of power has reversed.  Resolution-  So we have a newfound stasis in the play.  Jason loses his childen, fiancé and soon to be father in law, while Medea ascends into the heavens with the bodies of her children.  DO NOT mess with the Gods.