Arthur Miller's Aesthetics

The Artistic Aesthetic of the Modern Tragedy

In Arthur Miller's drama, there is an artistic aesthetic that is called "modern tragedy." Miller's concept of modern tragedy is distinct from historical conceptions of this aesthetic in drama. This aesthetic on behalf of Miller's conception emerges with a dualistic cause in modern society. On the one hand, Miller views the breakdown of community a tragedy. We see this expressed in Death of a Salesman, where Willy Loman is tossed away by the organization he is loyal to like the used rind of an orange. We also see it in The Crucible, where innocent people are accused, convicted and burnt at the stake because of a breakdown in community. In Death of a Salesman, Miller views the breakdown of community as resulting from the devaluation of individual lives because of the structure and goals of a capitalist society. In The Crucible, Miller views the breakdown of community as resulting from the chaos, fear and suspicion created from paranoia, a paranoia that is reinforced by the judicial system of the community. We can see this loss of community is what represents the modern tragedy to Miller. However, the evolution of this aesthetic is the direct result of the social conditions and ideologies of Miller's era. In Death of a Salesman, we see Miller is criticizing a society that replaces the godhead with economics for its devaluation of the human soul. This to him is tragedy in the modern era. Likewise, though T

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558-559). We also glean this artistic aesthetic in The Crucible, John Proctor is the only one brave enough and in possession of enough courage to challenge the accusations of the court. In order to have the truth told he is willing to sacrifice himself. He like Willy is tragic because he does not give in to the overwhelming forces around him by fleeing into some illusionary world. Instead they take action and maintain control of the self. John Proctor, a good, decent man, cannot bear the injustice that has torn the community apart with fear, paranoia and suspicion. Even Abigail says to him "Oh, I marvel how such a strong man may let such a sickly wife be�a cold, sniveling woman" (Miller 22). When we look to Miller's own statements and personal writings, we see his artistic aesthetic more fully explained when it comes to modern tragedy, particularly its dualistic origins of capitalism and loss of community. However, we see that in the face of this reality, what is tragic is that those who have the courage to fight against it often end poorly. In a 1949 New York Times article entitled Tragedy and the Common Man, Miller's statement bring his artistic aesthetic a little more into focus "Tragic feeling is evoked in us when

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