A Critical Appreciation of Arthur Miller's Play

He is involved in a serious car accident, and finds his tawdry feel paraded before his look as he recovers in the hospital. One of the incorrupt messages of the play is that the sins of one's past leave behind eventually catch up with one.

The end of the play provides some sign that redemption for Lyman, unbelievable as it may be, is not impossible. He says to Bessie:

. . . I'd give anything for your forgiveness. barely you deserve the whole damn truth. ---In some miserable patrician corner of my soul I'm still not sure enough why I'm condemned! (He weeps helplessly) (138-139).

The question moth miller leaves us with is whether a man stub truly be forgiven if he is not even sure what he has done wrong in the first place. Nevertheless, miller set ups us that Lyman does still have a soul in the character's appreciation of the simple love which the nurse enjoyed with her husband and tiddler while fishing on a lake. After his family leaves, Lyman is asked by the nurse if he wants something for his pain, but Lyman insists that she stay and talk to him. He asks her what she and her family talk about when they are fishing on the lake. She responds:

. . . Well, let's chance on . . . this last time we all bought us some place at that big Knapp Shoe Outlet up on that point?---they're seconds, but you can't tell them from new (141).

In the heyday of his esurient selfishness, Lyman would have scorned the nurse and her family and their conversation about a sale on shoes, but in the dawning low-cal of his possib

Of course, most of the play is tooshie for Lyman's tenuous awakening at the end of the play. Lyman is portrayed by milling machine as a man who has become greedy, selfish, lust-ridden, and, higher up all, obsessed with making the deal. Still, in intimately every situation, miller shows Lyman to have a streak of humanity, no offspring how aphonic he tries to ignore it. He has maintained at least a semblance of his vulnerability. For example, Leah asks him if he regrets having gotten a divorce, and Lyman answers, "I'm . . . a little scared, that's all, but it's natural" (24).

le redemption, Lyman sees the conversation as much more than.

With "painful wonder and longing in his face, his eyes wide, alive," Lyman says to himself:

The primary message of the play is that what is important in life is not satisfying one's greed or lust, but or else developing loving relationships with other human beings and learning to assess the small "miracles" of everyday life. The indictment by Miller of the Reagan age and human greed in general is not yet a political or socioeconomic indictment, then, but is more importantly ethical and spiritual. When Miller has Lyman refer to his being "condemned," it is above all a spiritual condemnation he is experiencing. Miller knows that human beings do not variety show their personalities overnight, no matter how powerful an enlightening experience might be. Real, profound, lasting change takes time and hard work, and Miller is making this argument when he has Lyman "quickly catch himself" when he starts to weep at the play's end. Miller is acknowledging that Lyman will not easily give up his unsusceptibility to the truth, and that change on a deep level will require tremendous effort and much grueling sex-examination on his part.

I did the right thing; it's just the imputation of cowardice that . . . Well, cheat it. I've lived my life and I refuse to be ashamed of it! (27).

However, Lyman is almost entirely self-centered in the play, even when he does show s
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