A critical commentary responding to a IB Lang Lit Paper 2 prompt comparing Arthur Miller's Death of a Salesman and Henrik Ibsen's A Doll House on their use or presentation of journey/s.
The Question: Journey
Referring to two works you have studied, discuss how the writers portray the significance of a journey.
Some tips!
Some questions will have philosophical quotes to open the question, functioning as a frame for your thinking and interpretation of the literary/dramatic texts you choose to compare. Luckily (or perhaps unluckily), this question does not have such a feature. This means you will need to frame the topic/motif word, "journey", yourself.
Identify specific instances or moments and/or motifs/symbols in the literary texts for a sharper, more targeted comparison.
Ensure that the question/prompt/topic you choose should be quite clearly or easily seen/noticed in the texts of your choice.
Of course, this could be after allowing yourself some time to reframe/slightly re-define the topic. For instance, a journey is an act of travelling, it includes a starting point and a destination, or multiple destinations. It takes you from place/space/state to place/space/state. It involves some forms of movement or even displacement. To do so, agency is often required. You could examine both physical/literal journeys/movements and spiritual/metaphorical ones. So feel free (of course with restraint and discretion), to redefine or reframe the prompt/concept word such that it allows more space and applicability to your texts. However, do exercise discretion when doing so. Ensure that you are not distorting the topic or the prompt into something unrecognisable!
Do be acutely sensitive to the similarities or differences in literary form and structure of the texts you have studied. Even if they are of similar form (prose, drama, poetry), there are often differences or nuances to their styles, and the socio-historical and literary contexts in which the texts have been produced, shaped and situated.
The Essay for IB Lang Lit Paper 2
The characters in Death of a Salesman (henceforth Salesman) by Arthur Miller and A Doll’s House (henceforth Doll) by Henrik Ibsen undertake various journeys of great significance. On the surface, these journeys symbolise immense promise, fundamentally altering the course of characters’ lives toward fortune and success. However, this potential is deeply deceptive. For both Willy Loman and Nora Helmer, these journeys represent their deepest insecurities and fears as well, embodying their greatest failings in the eyes of society. At the end of the two texts, both characters embark on final journeys to leave their lives behind definitively. While Willy’s last journey into death is a culmination of his empty life of failure and broken dreams, Nora’s departure represents a fresh beginning for her, journeying away from her old life of restriction and dependence toward a new future of freedom.
Both Salesman and Doll have significant journeys at their core, travelling to faraway lands in pursuit of fortune and salvation. In Salesman, Miller employs Willy’s older brother Ben’s journey to Africa, where he made his fortune discovering diamond mines, as a potent symbol of the American Dream. When Ben first appears to Willy, Miller’s stage directions describe him as “a stolid man, in his sixties, with a moustache and an authoritative air”, painting a striking portrait of his confident stature and presence. Indeed, he is “utterly certain of his destiny, and there is an aura of far places about him” – his commanding, well-travelled presence embodies respect, power, and wealth to Willy, wholly encapsulating his ultimate conception of consummate success. Indeed, Ben’s journey into the jungle with its diamonds is a repeated motif throughout Salesman. Existing as a figment of Willy’s imagination, Ben and his journey symbolise the American Dream, feeding into the pipe dream of rags-to-riches success that Willy has chased his whole life. Willy’s belief that, “the jungle is dark but full of diamonds” demonstrates his unwavering faith and hope in an exotic journey to lead him towards the glittering promise of precious diamonds, delivering him the fortune and fulfilment that he desperately desires.
In Ibsen’s work, it is the Helmers’ journey to Italy to cure Torvald’s illness that forms the foundation of their life of bliss and luxury thereafter, serving as a central symbol of Nora’s love and commitment to her role as Torvald’s wife and their happy life together. Nora explains to Mrs Linde, “It was to me that the doctors came and said that [Torvald’s] life was in danger, and that the only thing to save him was to live in the south.” Indeed, the life-threatening stakes of the journey are evident, underscored by the absolute “only” suggesting its sheer importance for Torvald’s survival. As such, she tells Mrs Linde that “I too have something to be proud and glad of. It was I who saved Torvald’s life.” Her repetition of the personal pronoun emphasises her role and agency in saving her husband, evincing the magnitude of her happiness and sense of achievement in her efforts. Indeed, the journey is Nora’s greatest triumph. Just as Ben’s journey is a symbol of the riches and success that Willy dreams of, the Helmers’ journey is likewise a symbol for Nora of their good fortune, single-handedly saving her beloved and ensuring the future of their “beautiful happy home”.
However, these journeys harbour deeper, darker significances as well. These journeys serve as portentous symbols of betrayal and deceit in the texts, burdening the characters with their heavy, leaden weight. In Salesman, while both Willy’s father’s journey to Alaska and Ben’s journey to Africa represent their pursuit of great riches and success, they are also painful symbols of the betrayal and abandonment he suffers. As Willy reminisces, “Dad left when I was such a baby and I never had a chance to talk to him and I still feel– kind of temporary about myself” – the polysyndeton adds a plaintive, child-like quality to his speech, emphasised by his forlorn admission of his feelings of “temporar[iness]”, demonstrating his deep sense of hurt and betrayal from his father’s journey to Alaska. Similarly, Willy “longingly” pleads “Can’t you stay a few days” as Ben moves to leave the scene, desperately trying to get Ben to remain with him. For Willy, these expeditions are traumatic reminders of his father’s and brother’s betrayals of him, leaving him behind to fend for himself in the dust, revealing the dual significance of their journeys.
For Doll, it is Nora’s act of deceit and subterfuge that forms the core of the Helmers’ journey to Italy. Not only was her forgery to borrow the money for the trip a criminal act, but her deception of doing so behind Torvald’s back represents a massive transgression against the societal expectations of female obedience and financial dependence. As such, the significance of her betrayal and deceit lies in her desperate attempts to conceal her disgraceful secret, lest it ruin the Helmers’ happiness and reputation it had brought about. In criticising Krogstad’s own act of forgery, Torvald unknowingly comments on his wife’s own situation, saying, “A fog of lies like that in a household, and it spreads disease and infection to every part of it. Every breath the children take in that kind of house is reeking of evil germs.” Ibsen employs the metaphor of infection to describe perceived moral bankruptcy, proliferating and eating away at all in its vicinity. Powerfully, he even adopts the idea of an all-consuming “fog” that envelopes everyone in its shroud, invasively entering the “breath” of children and thoroughly corrupting them. The Helmers’ journey to Italy is one such act of deceit, suggesting that in Nora’s greatest act of love and salvation lies a symbol of her deepest disgrace and betrayal of society’s conventions and expectations of her.
Damningly, the two playwrights also demonstrate the ultimate hollowness of the fortunes promised by these journeys. In Salesman, Miller deflates the symbol of the American Dream with the sharp pin prick of reality, exposing the beguiling riches and fortune of exotic journeys as empty promises. When Willy asks Linda about the “diamond watch fob” that Ben brought back from Africa for him, Linda reminds him that he “pawned it… for Biff’s radio correspondence course.” The symbolic riches of Ben’s journey to Africa are undermined by the harsh reality of the Lomans’ poverty, exposing the hollowness of the lofty fortune and success that Ben’s journey promised. Moreover, Willy’s own journeys as a salesman are a far cry from the exciting, fortune-filled adventures of Ben’s expedition, with his dull, dreary travels earning him a paltry income that barely supports his family. When Willy initially recounts his business journey to Linda, he proudly declares that he made “five hundred gross in Providence and seven hundred gross in Boston”. Yet, these inflated boasts are quickly punctured as Linda works out his actual earnings of a meagre “seven dollars and some pennies”, only worsened by the overwhelming cumulative list of mounting debts in “…nine-sixty for the washing machine… for the vacuum cleaner there’s three and a half due on the fifteenth. Then the roof, you got twenty-one dollars remaining”. Far from the alluring promise of wealth and adventures embodied by the “diamonds” , Willy’s own journeys merely offer the mundane reality of broken household appliances and indigent poverty, exposing the drab truth belying the glittering journey towards the American Dream.
Likewise, Ibsen demonstrates the inherent hollowness of the blissful family life gleaned from the Helmers’ journey. Just as Willy realises that the promise of Ben’s epic journey is a mere pipe dream, it becomes evident that the apparent good fortune of love and happiness brought about by the Helmers’ trip is a lie, with their marriage built primarily on Torvald’s desire for respect, control, and reputation, rather than any genuine feeling. Upon discovering Nora’s secret, Torvald’s reaction is not one of gratitude but instead of deep reproach and fury, exposing his preoccupation with social approval above all else. He tells Nora, “The thing must be hushed up at all costs”, only able to refer to her act of selfless sacrifice obliquely as “the thing”, and even demanding continued secrecy around the truth of their journey to the extent of the absolute in “at all costs”, demonstrating the intensity of his shame and emasculated humiliation. Cruelly, he declares, “All we can do is save the bits and pieces from the wreck, preserve appearances…”. The ideal life of a loving husband and happy family crumbles as Torvald reveals his true colours, callously referring to Nora’s greatest act of love as a disastrous “wreck”, leaving behind the ruined remnants of “bits and pieces” from their former, blissful façade. Instead, he is focused on the maintenance of “appearances”, suggesting his prioritisation of his social image over any true affection or love for Nora. As such, Ibsen demonstrates the superficiality of their love, exposing their joyful domestic life together, made possible by their trip to Italy, to be lacking in true happiness and only possessing frivolous, foolish “merry”.
Ultimately, both plays end with their respective protagonists’ departure from their old lives. For Salesman, Willy takes his car and commits suicide, embarking on a tragic final journey into the “dark jungle” of death. In the Requiem, Linda tells Willy, “I made the last payment on the house today. Today, dear. And there’ll be nobody home”. Despite the fulfilment of one of the Loman’s life goals, the “diamonds” reaped are completely hollow, without any happiness, family, or meaning behind it. We are confronted with the inherent meaninglessness of the various journeys of Willy’s life, as well as the ultimate emptiness of his final journey into death, demonstrating the yawning chasm between reality and the grand symbolism of Ben’s journey and the American Dream. In the closing moments of Salesman, the stage is filled with the enchanting “music of the flute”, alluding to the tantalising journey into the wilderness that eluded Willy all his life. Even in death, he is haunted by the glimmering potential of what could have been, leading away towards riches and success just out of reach.
Conversely, Nora’s flight is much more empowering and hopeful. While Willy’s death is merely the final meaningless journey of a long life of meaningless journeys, Nora’s departure stands in contrast to the Helmers’ trip that catalyses the play. The woman who embarked on that initial journey, naïve and wholly self-effacing in the face of her husband’s needs, is different from the woman who leaves her husband at the end of the play, independent and free from the restrictions of his patronising iron fist of control. The play ends with “the sound of a door shutting”, with its resounding note of finality ringing out across the stage in a decisive end to her old life of dependence and captivity.
While both plays employ journeys as a glimmering symbol of reward, promising great fortune and fulfilment, Miller and Ibsen recognise the deceptive quality of these false promises. In time, these journeys come to harbour darker significances of deceit and betrayal for the characters, with their apparent promises of happiness and riches exposed to be hollow illusions. At the end of each play, both protagonists embark on final journeys to leave their old lives behind. While Willy’s final journey into death encapsulates a lifetime hopelessly spent chasing dreams just out of reach, Ibsen illuminates a brighter, hopeful future for Nora as she begins her new life.
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