Week 1
Dreams for Sale (4/7-4/11)

In 1789, Founding Father Benjamin Franklin wrote what is believed to be his last great quote—an enduring observation about life and government: “In this world, nothing is certain except death and taxes.” He included this remark in a letter to French scientist Jean-Baptiste Le Roy, reflecting on the recent ratification of the U.S. Constitution and his own declining health. 

By then, Franklin was already renowned for his many proverbs and witty sayings, particularly those published under the name “Richard Saunders” in Poor Richard’s Almanack, including “a penny saved is a penny earned” and “time is money.” 

He remained active late into life, contributing to political discourse and maintaining correspondence with prominent figures like Thomas Jefferson. In what is considered his final letter, written in April 1790, he responded to Jefferson’s inquiry about a boundary dispute despite being gravely ill; he died days later at age 84. Though the “death and taxes” idea predated him, the 1817 publication of his letter helped cement the phrase as one of the most iconic in American culture.

Arthur Miller (1915–2005) was one of the most influential American playwrights of the 20th century. Known for his sharp social commentary and exploration of the American Dream, Miller wrote plays that examine family, identity, and moral responsibility. He gained national fame with The Crucible and Death of a Salesman, the latter of which won the Pulitzer Prize for Drama in 1949. His writing invites readers to question what it means to succeed and what we might lose in the pursuit of that success. 

By the mid-1950s, Miller was famous not only for his plays, but also for when he was called to appear before Senator Joseph McCarthy’s House Un-American Activities Committee. Just as other Americans had been subpoenaed, Miller, too, was asked to identify writers who he believed were communists. Miller stood his ground, held to his principles, and pretty much risked his career by refusing to name names. The result? He was convicted of contempt of Congress. (The conviction was overturned in 1958.) A theater critic at the time said that Miller’s refusal to cooperate showed “the measure of the man who has written these high-minded plays.” 

Arthur Miller’s marriage to Marilyn Monroe was one of the most talked-about relationships of the 20th century, largely because it brought together two towering—but very different—American icons: the brilliant, introspective playwright and the glamorous, often-misunderstood film star.

They married in 1956, just weeks after Monroe converted to Judaism for Miller. At the time, he was being investigated by the House Un-American Activities Committee for alleged communist sympathies, and Monroe’s support was both personal and public. Their marriage was passionate but fraught—Miller was intellectual and private, while Monroe was struggling with fame, mental health challenges, and a search for emotional stability. Miller even wrote a screenplay for her, The Misfits (1961), which became her final completed film.

Their relationship unraveled over time, marked by creative tensions and personal strain. They divorced in 1961, the same year The Misfits was released. 

Definition: A tragic hero is a character who is basically good but has a flaw or makes a serious mistake that leads to their downfall. Their story ends in tragedy, but it’s meant to make the audience feel pity and fear (what Aristotle called catharsis).

The process of releasing, and thereby providing relief from, strong or repressed emotions. 

Example: At the end of Romeo and Juliet, when the two lovers die tragically, the audience feels a deep mix of pity for their fate and fear over how misunderstandings and hatred led to such loss. That emotional response—the tears, the sorrow, the reflection—is catharsis. It gives the audience a chance to release their own emotions and think about the consequences of conflict and impulsive decisions. 

Definition: A frenzied, exhausting, and competitive routine of daily life, especially in the context of work and career. It's often used to describe the endless pursuit of success, money, or status, where people feel stuck in a cycle of stress and busyness, without real fulfillment.

Imagine: long commutes, 9-to-5 jobs, constant hustle, climbing the corporate ladder, and barely having time to breathe—all while trying to "get ahead."

It’s called a rat race because, like rats running in a maze or wheel, people in this situation often feel like they’re going in circles, not truly getting anywhere meaningful.

Quote from the text:

Willy explains to Biff and Happy that looks are everything, as he draws an allusion to Adonis: "That's just what I mean, Bernard can get the best marks in school, y'understand, but when he gets out in the business world, y'understand, you are going to be five times ahead of him. That's why I thank Almighty God you're built like Adonises. Because the man who makes an appearance in the business world, the man who creates personal interest, is the man who gets ahead. Be liked and you will never want" (21).

Adonis is a term used to describe a very handsome young man, or a figure in Greek mythology. 

Adonis in Greek mythology

• Adonis was the lover of the goddess Aphrodite and the god of beauty, desire, corn, and grain 

• He was considered the ideal of male beauty in classical antiquity.

• Adonis was killed by a wild boar while hunting.

• In response to Aphrodite's pleas, Zeus allowed Adonis to spend half the year with her and half in the underworld.

• The Adonia festival was celebrated by women in midsummer to commemorate Adonis's death. 

• The myth of Adonis and Aphrodite is a classic account of jealousy, desire, rejection, and love.

Adonis in modern use

• The term "Adonis" is often used to describe a young man with striking features, rippling muscles, and a hint of overconfidence.

Persona ≠ True Self: It’s a protective façade, not the core of who we are.

It mediates between the individual and society: it helps us function socially, but if we identify too strongly with it, we risk losing touch with our authentic self (what Jung called the Self).

At one point, Willy calls Bernard “anemic,” using it as an insult — not in the medical sense, but to imply weakness or lack of vitality, masculinity, or charisma.

So here, “anemic” is Willy’s way of dismissing Bernard for being bookish or physically unimpressive, reinforcing Willy’s belief that charm and physical strength are more valuable than intelligence or hard work.