In his essay, “Tragedy and the Common Man,” Arthur Miller wrote, “Tragedy, then, is the consequence of a mans total compulsion to evaluate himself justly.” This truth is apparent in the two plays, “Death of a Salesman” by Miller and “Fences” by August Wilson. Through their struggles against society as well as themselves, the characters of Willy Loman and Troy Maxson bring new meaning to the classical definition of “tragic hero.”
In “Death of a Salesman” Miller condemns the American ideal of prosperity, seeing it as something that few can pursue without making dangerous moral compromises. Willy Loman, the sixty-year-old protagonist, has spent his life in search of happiness and the American dream. He is a husband, a father, a salesman, and a man desperate to find meaning in his life and pride in himself before its too late. He has worked for the same company for his entire career, dreaming of being “well-liked” and being someone.”
For Willy, being well-liked equates with success. “Be popular and you will not want” is his interpretation of the American dream. The hero in “Fences,” a “flawed giant” is a garbageman of fifty-six named Troy Maxson. Once a professional baseball player, he was unable to play in the major leagues because of his African-American roots. There is no aspect of his life in which he does not feel constricted or fenced in. Because he is black, he is not allowed to drive the garbage truck but must always work behind, lifting and dumping. The beginning of the play marks a strong victory for Troy, after complaining to the union about the injustice, and wins.
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Willy has spent his life wandering between illusion and reality. He encouraged his sons when they were growing up to be confident and popular, and now is attempting to live his life again through his sons. Willy ultimately takes his own life so that his son Biff may benefit from the insurance money that he will receive. The question then remains, is his suicide noble? Since it is perpetrated for Biffs benefit, it can be read as a sacrifice. Sacrifice in our culture is a pious and admirable quality, one of nobility. In “Fences,” the relationship between father and son is also an important aspect in understanding Troy Maxson as a “tragic hero.”
Troy is constricted by his feelings, a mixture of bitter jealousy and protectiveness, about his younger son, Cory, who has been recruited for a football scholarship. Troy fears that the boy will be hurt, as he has been, in the world of sports. Beside himself with envy, he refuses to let the boy accept it. He refuses to believe that even though he himself has worked hard all day long to supply food, a roof, and clothing to his family, it is his son who is reaping the benefits in return. Troy doesnt want to believe that things are changing. And hero in “Fences,” a “flawed giant” is a garbageman of fifty-six named Troy Maxson and wins.
