Death of a Salesman
8.Death of a Salesman
Arthur Miller
【简介与赏析】
阿瑟·米勒（Arthur Miller，1915—2005），美国20世纪三大剧作家之一。生于纽约犹太富商之家，大萧条时期家道中落，遂半工半读，自力完成学业。大学期间开始戏剧创作，作剧四部，两度获奖，毕业后历任多职，终不弃文志。1944年《鸿运高照的人》问世并获奖，四年后在百老汇上演，剧名初起。1949年，《推销员之死》轰动剧坛，获得纽约剧评家奖和普利策奖，乃享誉全球。后一再受到众议院“非美活动调查委员会”的传讯，坚定不屈，乃至获罪，然终不违故志，并作历史剧《炼狱》讽刺麦卡锡主义。后笔耕不辍，至耄耋之龄，共创作舞台剧、广播剧几十余部，以及其他短篇小说、报告文学等，皆针砭时弊、直言不讳，被誉为20世纪良心的代表。1978年，米勒夫妇访华，受到中国剧作家曹禺接待，后出版了一本摄影集反映中国人民当时的生活。
自尤金·奥尼尔于1953年逝世后，阿瑟·米勒与田纳西·威廉斯和爱德华·阿尔比一起引领美国剧坛。米勒是一位易卜生式的社会剧作家，其作品探讨人生意义，着重理智，关怀整个人性。2005年，米勒因心脏衰竭逝世。百老汇称“我们损失了一位巨人”。而剧作家爱德华·阿尔比则评价说：“阿瑟的戏剧是我们所必需的。”
《推销员之死》
《推销员之死》是米勒的代表作，讲述了一个梦想破灭的故事。威利·洛曼是个旅行推销员，一生失意，老来潦倒不堪，只希望儿子能出人头地。但大儿子比夫年过三十，连一份正式工作也没有，二儿子哈比只会寻花问柳，也是个废物。两个儿子在母亲激励下终于鼓起勇气想干一番事业，于是跟父亲约定晚上在小酒馆会面，共商振兴大计。而当天上午老威利竟被少东家辞了，晚上来到酒馆，两兄弟却在喝闷酒，原来比夫向老同学借钱碰钉子，拟订的发财计划化为泡影。威利大失所望，气得神志昏迷，比夫和哈比趁机挽着女友溜了。威利对自己、对儿子、对整个生活不再抱任何希望，出门故意撞车而死。
本剧是一出典型的现代悲剧，揭露了“美国梦的疵点”，被誉为“美国梦不再”的代表作。它奠定了米勒戏剧大师的地位，并获“普利策戏剧奖”、“纽约戏剧评论奖”和美国舞台艺术成就最高奖项“托尼戏剧音乐奖”三项大奖。1999年，此剧再获托尼奖中的“最佳戏剧重演奖”。米勒在83岁高龄时捧下了“终身成就奖”。本剧运用了意识流的叙事手法，大量倒叙、幻觉等手法穿插其间，再加上剧院别出心裁的场景设置和灯光及音响效果，让观众不受时间、空间的限制，感觉像丧失了时空的掌控感似的而处于持续不安之中，从而增强了剧作的悲剧效果。
【剧本选读】
Characters
Willy Loman：the salesman who is past his prime，and who was never an exceptional businessman in his prime
Linda Loman：Willy’s wife who loves him despite all of his difficulties
Biff Loman：Willy’s eldest son for whom he had dreams of greatness
Happy Loman：Willy’s younger son
Charley：Willy’s neighbor
Bernard：Charley’s son
Ben：Willy’s brother who left home very early and became tremendously wealthy；appears only in Willy’s daydreams
Howard Wagner：son of former owner of the Wagner Company；he now runs the firm and is responsible for putting Willy on straight commission
The Woman：Willy’s mistress from Boston
ACTⅠ
A melody is heard，played upon a flute.It is small and fine，telling of grass and trees and the horizon.The curtain rises.
Before us is the Salesman’s house.We are aware of towering，angular shapes behind it，surrounding it on all sides.Only the blue light of the sky falls upon the house and forestage；the surrounding area shows an angry①glow of orange.As more light appears，we see a solid vault of apartment houses around the small，fragile－seeming home.An air of the dream clings to the place，a dream rising out of reality.The kitchen at center seems actual enough，for there is a kitchen table with three chairs，and a refrigerator.But no other fixtures are seen.At the back of the kitchen there is a draped entrance，which leads to the living room.To the right of the kitchen，on a level raised two feet，is a bedroom furnished only with a brass bedstead and a straight chair.On a shelf over the bed a silver athletic trophy stands.A window opens onto the apartment house at the side.
Behind the kitchen，on a level raised six and a half feet，is the boys’bedroom，at present barely visible.Two beds are dimly seen，and at the back of the room a dormer window②.（This bedroom is above the unseen living room.）At the left a stairway curves up to it from the kitchen.
The entire setting is wholly or，in some places，partially transparent.The roof－line of the house is one－dimensional；under and over it we see the apartment buildings.Before the house lies an apron③，curving beyond the forestage into the orchestra④.This forward area serves as the back yard as well as the locale of all Willy’s imaginings and of his city scenes.Whenever the action is in the present the actors observe the imaginary wall－lines，entering the house only through its door at the left.But in the scenes of the past these boundaries are broken，and characters enter or leave a room by stepping“through”a wall onto the forestage.
（From the right，Willy Loman，the Salesman，enters，carrying two large sample cases.The flute plays on.He hears but is not aware of it.He is past sixty years of age，dressed quietly⑤.Even as he crosses the stage to the doorway of the house，his exhaustion is apparent.He unlocks the door，comes into the kitchen，and thankfully lets his burden down，feeling the soreness of his palms.A word－sigh escapes his lips—it might be“Oh，boy，oh，boy.”He closes the door，then carries his cases out into the living room，through the draped kitchen doorway.Linda，his wife，has stirred in her bed at the right.She gets out and puts on a robe，listening.Most often jovial，she has developed an iron repression of her exceptions⑥to Willy’s behavior—she more than loves him，she admires him，as though his mercurial nature，his temper，his massive dreams and little cruelties，served her only as sharp reminders of the turbulent longings within him，longings which she shares but lacks the temperament to utter and follow to their end.）
LINDA：（hearing Willy outside the bedroom，calls with some trepidation）Willy！
WILLY：It’s all right.I came back.
LINDA：Why？What happened？（Slight pause.）Did something happen，Willy？
WILLY：No，nothing happened.
LINDA：You didn’t smash the car，did you？
WILLY：（with casual irritation）I said nothing happened.Didn’t you hear me？
LINDA：Don’t you feel well？
WILLY：I’m tired to the death.（The flute has faded away.He sits on the bed beside her，a little numb.）I couldn’t make it.I just couldn’t make it，Linda.
LINDA：（very carefully，delicately）Where were you all day？You look terrible.
WILLY：I got as far as a little above Yonkers.I stopped for a cup of coffee.Maybe it was the coffee.
LINDA：What？
WILLY：（after a pause）I suddenly couldn’t drive any more.The car kept going off onto the shoulder⑦，y’know⑧？
LINDA：（helpfully）Oh.Maybe it was the steering again.I don’t think Angelo⑨knows the Studebaker⑩.
WILLY：No，it’s me，it’s me.Suddenly I realize I’m goin’sixty miles an hour and I don’t remember the last five minutes.I’m—I can’t seem to—keep my mind to it.
LINDA：Maybe it’s your glasses.You never went for your new glasses.
WILLY：No，I see everything.I came back ten miles an hour.It took me nearly four hours from Yonkers.
LINDA：（resigned）Well，you’ll just have to take a rest，Willy，you can’t continue this way.
WILLY：I just got back from Florida.
LINDA：But you didn’t rest your mind.Your mind is overactive，and the mind is what counts，dear.
WILLY：I’ll start out in the morning.Maybe I’ll feel better in the morning.（She is taking off his shoes.）These goddam arch supports are killing me.
LINDA：Take an aspirin.Should I get you an aspirin？It’ll soothe you.
WILLY：（with wonder）I was driving along，you understand？And I was fine.I was even observing the scenery.You can imagine，me looking at scenery，on the road every week of my life.But it’s so beautiful up there，Linda，the trees are so thick，and the sun is warm.I opened the windshield and just let the warm air bathe over me.And then all of a sudden I’m goin’off the road！I’m tellin’ya，I absolutely forgot I was driving.If I’d’ve gone the other way over the white line I might’ve killed somebody.So I went on again—and five minutes later I’m dreamin’again，and I nearly—（He presses two fingers against his eyes.）I have such thoughts，I have such strange thoughts.
LINDA：Willy，dear.Talk to them again.There’s no reason why you can’t work in New York.
WILLY：They don’t need me in New York.I’m the New England man.I’m vital in New England.
LINDA：But you’re sixty years old.They can’t expect you to kee travelling every week.
WILLY：I’ll have to send a wire to Portland.I’m supposed to see Brown and Morrison tomorrow morning at ten o’clock to show the line
.Goddammit，I could sell them！（He starts putting on his jacket.）
LINDA：（taking the jacket from him）Why don’t you go down to the place tomorrow and tell Howard you’ve simply got to work in New York？You’re too accommodating，dear.
WILLY：If old man Wagner
was alive I’d a been in charge of New York now！That man was aprince，he was a masterful man.But that boy of his，that Howard，he don’t appreciate.When I went north the first time，the Wagner Company didn’t know where New England was！
LINDA：Why don’t you tell those things to Howard，dear？
WILLY：（encouraged）I will，I definitely will.Is there any cheese？
LINDA：I’ll make you a sandwich.
WILLY：No，go to sleep.I’ll take some milk.I’ll be up right away.The boys in？
LINDA：They’re sleeping.Happy took Biff on a date tonight.
WILLY：（interested）That so？
LINDA：It was so nice to see them shaving together，one behind the other，in the bathroom.And going out together.You notice？The whole house smells of shaving lotion.
WILLY：Figure it out.Work a lifetime to pay off a house.You finally own it，and there’s nobody to live in it.
LINDA：Well，dear，life is a casting off.It’s always that way.
WILLY：No，no，some people—some people accomplish something.Did Biff say anything after I went this morning？
LINDA：You shouldn’t have criticized him，Willy，especially after he just got off the train.You mustn’t lose your temper with him.
WILLY：When the hell did I lose my temper？I simply asked him if he was making any money.Is that a criticism？
LINDA：But，dear，how could he make any money？
WILLY：（worried and angered）There’s such an undercurrent in him.He became a moody man.Did he apologize when I left this morning？
LINDA：He was crestfallen，Willy.You know how he admires you.I think if he finds himself
，then you’ll both be happier and not fight any more.
WILLY：How can he find himself on a farm？Is that a life？A farmhand？In the beginning，when he was young，I thought，well，ayoung man，it’s good for him to tramp around，take a lot of different jobs.But it’s more than ten years now and he has yet to make thirty－five dollars a week！
LINDA：He’s finding himself，Willy.
WILLY：Not finding yourself at the age of thirty－four is a disgrace！
LINDA：Shh！
WILLY：The trouble is he’s lazy，goddammit！
LINDA：Willy，please！
WILLY：Biff is a lazy bum！
LINDA：They’re sleeping.Get something to eat.Go on down.
WILLY：Why did he come home？I would like to know what brought him home.
LINDA：I don’t know.I think he’s still lost，Willy.I think he’s very lost
.
WILLY：Biff Loman is lost.In the greatest country in the world a young man with such personal attractiveness，gets lost.And such a hard worker.There’s one thing about Biff—he’s not lazy.
LINDA：Never.
WILLY：（with pity and resolve）I’ll see him in the morning；I’ll have a nice talk with him.I’ll get him a job selling.He could be big
in no time.My God！Remember how they used to follow him around in high school？When he smiled at one of them their faces lit up.When he walked down the street...（He loses himself in reminiscences.）
LINDA：（trying to bring him out of it）Willy，dear，I got a new kind of American－type cheese today.It’s whipped.
WILLY：Why do you get American when I like Swiss？
LINDA：I just thought you’d like a change—
WILLY：I don’t want a change！I want Swiss cheese.Why am I always being contradicted？
LINDA：（with a covering laugh）I thought it would be a surprise.
WILLY：Why don’t you open a window in here，for God’s sake？
LINDA：（with infinite patience）They’re all open，dear.
WILLY：The way they boxed us in here.Bricks and windows，windows and bricks.
LINDA：We should’ve bought the land next door.
WILLY：The street is lined with cars.There’s not a breath of fresh air in the neighborhood.The grass don’t grow any more，you can’t raise a carrot in the backyard.They should’ve had a law against apartment houses.Remember those two beautiful elm trees out there？When I and Biff hung the swing between them？
LINDA：Yeah，like being a million miles from the city.
WILLY：They should’ve arrested the builder for cutting those down.They massacred the neighborhood.（Lost.）More and more I think of those days，Linda.This time of year it was lilac and wisteria.And then the peonies would come out，and the daffodils.What fragrance in this room！
LINDA：Well，after all，people had to move somewhere.
WILLY：No，there’s more people now.
LINDA：I don’t think there’s more people.I think—
WILLY：There’s more people！That’s what’s ruining this country！Population is getting out of control.The competition is maddening！Smell the stink from that apartment house！And another one on the other side...How can they whip cheese？（On Willy’s last line，Biff and Happy raise themselves up in their beds，listening.）
LINDA：Go down，try it.And be quiet.
WILLY：（turning to Linda，guiltily）You’re not worried about me，are you，sweetheart？
BIFF：What’s the matter？
HAPPY：Listen！
LINDA：You’ve got too much on the ball
to worry about.
WILLY：You’re my foundation and my support，Linda.
LINDA：Just try to relax，dear.You make mountains out of molehills.
WILLY：I won’t fight with him any more.If he wants to go back to Texas，let him go.
LINDA：He’ll find his way.
WILLY：Sure.Certain men just don’t get started till later in life.Like Thomas Edison，I think.Or B.F.Goodrich.One of them was deaf.（He starts for the bedroom doorway.）I’ll put my money on Biff.
LINDA：And Willy—if it’s warm Sunday we’ll drive in the country.And we’ll open the windshield，and take lunch.
WILLY：No，the windshields don’t open on the new cars.
LINDA：But you opened it today.
WILLY：Me？I didn’t.（He stops.）Now isn’t that peculiar！Isn’t that a remarkable—（He breaks off in amazement and fright as the flute is heard distantly.）
LINDA：What，darling？
WILLY：That is the most remarkable thing.
LINDA：What，dear？
WILLY：I was thinking of the Chevvy
.（Slight pause.）Nineteen twenty－eight...when I had that red Chevvy—（Breaks off.）That funny？I coulda sworn I was driving that Chevvy today.
LINDA：Well，that’s nothing.Something must’ve reminded you.
WILLY：Remarkable.Ts.Remember those days？The way Biff used to simonize that car？The dealer refused to believe there was eighty thousand miles on it.（He shakes his head.）Heh！（To Linda.）Close your eyes，I’ll be right up.（He walks out of the bedroom.）
HAPPY：（to Biff）Jesus，maybe he smashed up the car again！
LINDA：（calling after Willy）Be careful on the stairs，dear！The cheese is on the middle shelf！（She turns，goes over to the bed，takes his jacket，and goes out of the bedroom.）（Light has risen on the boys’room.Unseen，Willy is heard talking to himself，“eighty thousand miles，”and a little laugh.Biff gets out of bed，comes downstage a bit，and stands attentively.Biff is two years older than his brother Happy，well built，but in these days bears a worn air and seems less self－assured.He has succeeded less，and his dreams are stronger and less acceptable than Happy’s.Happy is tall，powerfully made.Sexuality is like a visible color on him，or a scent that many women have discovered.He，like his brother，is lost，but in a different way，for he has never allowed himself to turn his face toward defeat and is thus more confused and hardskinned，although seemingly more content.）
HAPPY：（getting out of bed）He’s going to get his license taken away if he keeps that up.I’m getting nervous about him，y’know，Biff？
BIFF：His eyes are going.
HAPPY：I’ve driven with him.He sees all right.He just doesn’t keep his mind on it.I drove into the city with him last week.He stops at a green light and then it turns red and he goes.（He laughs.）
BIFF：Maybe he’s color－blind.
HAPPY：Pop？Why，he’s got the finest eye for color in the business.You know that.
BIFF：（sitting down on his bed）I’m going to sleep.
HAPPY：You’re not still sour on Dad，are you，Biff？
BIFF：He’s all right，I guess.
WILLY：（underneath them，in the living room）Yes，sir，eighty thousand miles—eighty－two thousand！
BIFF：You smoking？
HAPPY：（holding out a pack of cigarettes）Want one？
BIFF：（taking a cigarette）I can never sleep when I smell it.
WILLY：What a simonizing job，heh？
HAPPY：（with deep sentiment）Funny，Biff，y’know？Us sleeping inhere again？The old beds.（He pats his bed affectionately.）All the talk that went across those two beds，huh？Our whole lives.
BIFF：Yeah.Lotta dreams and plans.
HAPPY：（with a deep and masculine laugh）About five hundred women would like to know what was said in this room.（They share a soft laugh.）
BIFF：Remember that big Betsy something—what the hell was her name—over on Bushwick Avenue？
HAPPY：（combing his hair）With the collie dog！
BIFF：That’s the one.I got you in there，remember？
HAPPY：Yeah，that was my first time—I think.Boy，there was a pig！（They laugh，almost crudely.）You taught me everything I know about women.Don’t forget that.
BIFF：I bet you forgot how bashful you used to be.Especially with girls.
HAPPY：Oh，I still am，Biff.
BIFF：Oh，go on.
HAPPY：I just control it，that’s all.I think I got less bashful and you got more so.What happened，Biff？Where’s the old humor，the old confidence？（He shakes Biffs knee.Biff gets up and moves restlessly about the room.）What’s the matter？
BIFF：Why does Dad mock me all the time？
HAPPY：He’s not mocking you，he—
BIFF：Everything I say there’s a twist of mockery on his face.I can’t get near him.
HAPPY：He just wants you to make good，that’s all.I wanted to talk to you about Dad for a long time，Biff.Something’s—happening to him.He talks to himself.
BIFF：I noticed that this morning.But he always mumbled.
HAPPY：But not so noticeable.It got so embarrassing I sent him to Florida.And you know something？Most of the time he’s talking to you.
BIFF：What’s he say about me？
HAPPY：I can’t make it out.
BIFF：What’s he say about me？
HAPPY：I think the fact that you’re not settled，that you’re still kind of up in the air...
BIFF：There’s one or two other things depressing him，Happy.
HAPPY：What do you mean？
BIFF：Never mind.Just don’t lay it all to me.
HAPPY：But I think if you just got started—I mean—is there any future for you out there？
BIFF：I tell ya，Hap，I don’t know what the future is.I don’t know—what I’m supposed to want.
HAPPY：What do you mean？
BIFF：Well，I spent six or seven years after high school trying to work myself up.Shipping clerk，salesman，business of one kind or another.And it’s a measly manner of existence.To get on that subway on the hot mornings in summer.To devote your whole life to keeping stock，or making phone calls，or selling or buying.To suffer fifty weeks of the year for the sake of a two－week vacation，when all you really desire is to be outdoors，with your shirt off.And always to have to get ahead of the next fella.And still—that’s how you build a future.
HAPPY：Well，you really enjoy it on a farm？Are you content out there？
BIFF：（with rising agitation）Hap，I’ve had twenty or thirty different kinds of jobs since I left home before the war，and it always turns out the same.I just realized it lately.In Nebraska when I herded cattle，and the Dakotas，and Arizona，and now in Texas.It’s why I came home now，I guess，because I realized it.This farm I work on，it’s spring there now，see？And they’ve got about fifteen new colts.There’s nothing more inspiring or—beautiful than the sight of a mare and a new colt.And it’s cool there now，see？Texas is cool now，and it’s spring.And whenever spring comes to where I am，I suddenly get the feeling，my God，I’m not gettin’anywhere！What the hell am I doing，playing around with horses，twenty－eight dollars a week！I’m thirty－four years old，I oughta be makin’my future.That’s when I come running home.And now，I get here，and I don’t know what to do with myself.（After a pause.）I’ve always made a point of not wasting my life，and everytime I come back here I know that all I’ve done is to waste my life.
HAPPY：You’re a poet，you know that，Biff？You’re a—you’re an idealist！
BIFF：No，I’m mixed up very bad.Maybe I oughta get married.Maybe I oughta get stuck into something.Maybe that’s my trouble.I’m like a boy.I’m not married，I’m not in business，I just—I’m like a boy.Are you content，Hap？You’re a success，aren’t you？Are you content？
HAPPY：Hell，no！
BIFF：Why？You’re making money，aren’t you？
HAPPY：（moving about with energy，expressiveness）All I can do now is wait for the merchandise manager to die.And suppose I get to be merchandise manager？He’s a good friend of mine，and he just built a terrific estate on Long Island.And he lived there about two months and sold it，and now he’s building another one.He can’t enjoy it once it’s finished.And I know that’s just what I would do.I don’t know what the hell I’m workin’for.Sometimes I sit in my apartment—all alone.And I think of the rent I’m paying.And it’s crazy.But then，it’s what I always wanted.My own apartment，a car，and plenty of women.And still，goddammit，I’m lonely.
BIFF：（with enthusiasm）Listen，why don’t you come out West with me？
HAPPY：You and I，heh？
BIFF：Sure，maybe we could buy a ranch.Raise cattle，use our muscles.Men built like we are should be working out in the open.
HAPPY：（avidly）The Loman Brothers，heh？
BIFF：（with vast affection）Sure，we’d be known all over the counties！
HAPPY：（enthralled）That’s what I dream about，Biff.Sometimes I want to just rip my clothes off in the middle of the store and outbox that goddam merchandise manager.I mean I can outbox，outrun，and outlift anybody in that store，and I have to take orders from those common，petty sons－of－bitches till I can’t stand it any more.
BIFF：I’m tellin’you，kid，if you were with me I’d be happy out there.
HAPPY：（enthused）See，Biff，everybody around me is so false that I’m constantly lowering my ideals...
BIFF：Baby，together we’d stand up for one another，we’d have someone to trust.
HAPPY：If I were around you—
BIFF：Hap，the trouble is we weren’t brought up to grub for money.I don’t know how to do it.
HAPPY：Neither can I！
BIFF：Then let’s go！
HAPPY：The only thing is—what can you make out there？
BIFF：But look at your friend.Builds an estate and then hasn’t the peace of mind to live in it.
HAPPY：Yeah，but when he walks into the store the waves part in front of him.That’s fiftytwo thousand dollars a year coming through the revolving door，and I got more in my pinky finger than he’s got in his head.
BIFF：Yeah，but you just said—
HAPPY：I gotta show some of those pompous，self－important executives over there that Hap Loman can make the grade.I want to walk into the store the way he walks in.Then I’ll go with you，Biff.We’ll be together yet，I swear.But take those two we had tonight.Now weren’t they gorgeous creatures？
BIFF：Yeah，yeah，most gorgeous I’ve had in years.
HAPPY：I get that any time I want，Biff.Whenever I feel disgusted.The only trouble is，it gets like bowling or something.I just keep knockin’them over and it doesn’t mean anything.You still run around a lot？
BIFF：Naa.I’d like to find a girl—steady，somebody with substance.
HAPPY：That’s what I long for.
BIFF：Go on！You’d never come home.
HAPPY：I would！Somebody with character，with resistance！Like Mom，y’know？You’re gonna call me a bastard when I tell you this.That girl Charlotte I was with tonight is engaged to be married in five weeks.（He tries on his new hat.）
BIFF：No kiddin’！
HAPPY：Sure，the guy’s in line for the vice－presidency of the store.I don’t know what gets into me，maybe I just have an over－developed sense of competition or something，but I went and ruined her，and furthermore I can’t get rid of her.And he’s the third executive I’ve done that to.Isn’t that a crummy characteristic？And to top it all，I go to their weddings！（Indignantly，but laughing.）Like I’m not supposed to take bribes.Manufacturers offer me a hundred－dollar bill now and then to throw an order their way.You know how honest I am，but it’s like this girl，see.I hate myself for it.Because I don’t want the girl，and still，I take it and—I love it！
BIFF：Let’s go to sleep.
HAPPY：I guess we didn’t settle anything，heh？
BIFF：I just got one idea that I think I’m going to try.
HAPPY：What’s that？
BIFF：Remember Bill Oliver？
HAPPY：Sure，Oliver is very big now.You want to work for him again？
BIFF：No，but when I quit he said something to me.He put his arm on my shoulder，and he said，“Biff，if you ever need anything，come to me.”
HAPPY：I remember that.That sounds good.
BIFF：I think I’ll go to see him.If I could get ten thousand or even seven or eight thousand dollars I could buy a beautiful ranch.
HAPPY：I bet he’d back you.’Cause he thought highly of you，Biff.I mean，they all do.You’re well liked，Biff.That’s why I say to come back here，and we both have the apartment.And I’m tellin’you，Biff，any babe you want...
BIFF：No，with a ranch I could do the work I like and still be something.I just wonder though.I wonder if Oliver still thinks I stole that carton of basketballs.
HAPPY：Oh，he probably forgot that long ago.It’s almost ten years.You’re too sensitive.Anyway，he didn’t really fire you.
BIFF：Well，I think he was going to.I think that’s why I quit.I was never sure whether he knew or not.I know he thought the world of me，though.I was the only one he’d let lock up the place.
WILLY：（below）You gonna wash the engine，Biff？
HAPPY：Shh！
（Biff looks at Happy，who is gazing down，listening.Willy is mumbling in the parlor.）
HAPPY：You hear that？（They listen.Willy laughs warmly.）
BIFF：（growing angry）Doesn’t he know Mom can hear that？
WILLY：Don’t get your sweater dirty，Biff！（A look of pain crosses Biff’s face.）
HAPPY：Isn’t that terrible？Don’t leave again，will you？You’ll find a job here.You gotta stick around.I don’t know what to do about him，it’s getting embarrassing.
WILLY：What a simonizing job！
BIFF：Mom’s hearing that！
WILLY：No kiddin’，Biff，you got a date？Wonderful！
HAPPY：Go on to sleep.But talk to him in the morning，will you？
BIFF：（reluctantly getting into bed）With her in the house.Brother！
HAPPY：（getting into bed）I wish you’d have a good talk with him.（The light of their room begins to fade.）
BIFF：（to himself in bed）That selfish，stupid...
HAPPY：Sh...Sleep，Biff.
（Their light is out.Well before they have finished speaking，Willy’s form is dimly seen below in the darkened kitchen.He opens the refrigerator，searches in there，and takes out a bottle of milk.The apartment houses are fading out，and the entire house and surroundings become covered with leaves.Music insinuates itself as the leaves appear.）
WILLY：Just wanna be careful with those girls，Biff，that’s all.Don’t make any promises.No promises of any kind.Because a girl，y’know，they always believe what you tell’em，and you’re very young，Biff，you’re too young to be talking seriously to girls.（Light rises on the kitchen.Willy，talking，shuts the refrigerator door and comes downstage to the kitchen table.He pours milk into a glass.He is totally immersed in himself，smiling faintly.）
WILLY：Too young entirely，Biff.You want to watch your schooling first.Then when you’re all set，there’ll be plenty of girls for a boy like you.（He smiles broadly at a kitchen chair.）That so？The girls pay for you？（He laughs.）Boy，you must really be makin’a hit.（Willy is gradually addressing—physically—apoint offstage，speaking through the wall of the kitchen，and his voice has been rising in volume to that of a normal conversation.）
WILLY：I been wondering why you polish the car so careful.Ha！Don’t leave the hubcaps，boys.Get the chamois to the hubcaps.Happy，use newspaper on the windows，it’s the easiest thing.Show him how to do it.Biff！You see，Happy？Pad it up，use it like a pad.That’s it，that’s it，good work.You’re doin’all right，Hap.（He pauses，then nods in approbation for a few seconds，then looks upward.）Biff，first thing we gotta do when we get time is clip that big branch over the house.Afraid it’s gonna fall in a storm and hit the roof.Tell you what.We get a rope and sling her around，and then we climb up there with a couple of saws and take her down.Soon as you finish the car，boys，I wanna see ya.I got a surprise for you，boys.
BIFF：（offstage）Whatta yagot，Dad？
WILLY：No，you finish first.Never leave a job till you’re finished—remember that.（Looking toward the“big trees”.）Biff，up in Albany I saw a beautiful hammock.I think I’ll buy it next trip，and we’ll hang it right between those two elms.Wouldn’t that be something？Just swingin’there under those branches.Boy，that would be...
【注释】
①angry：（of color）strong，sharp，blazing
②dormer window：scuttle，skylight
③apron：（in the theatre）part of the stage that extends into the auditorium in front of the curtain
④orchestra：（usually large）group of people playing various musical instruments together
⑤quietly：in a way that does not attract attention
⑥exceptions：dissatisfaction，discontentment
⑦shoulder：an area of ground beside a road where drivers can stop their cars if they are having trouble
⑧y’know：informal usage of“you know”for the purpose of imitating a vivid daily language
⑨Angelo：a mechanical repairman
⑩Studebaker：a car presently used by the protagonist
line：type of product
Wagner：Howard’s father，former boss of Howard Merchandising Company
if he finds himself：if he finds a suitable position for himself in the life
lost：confused or puzzled
big：prosperous，successful
on the ball：usually a fixed phrase，meaning alert，smart，here refers to“on the mind”
Chevvy：a car previously used by the protagonist
【讨论题】
1.How does Willy’s home function as a metaphor for his ambitions？
2.What evidence can we find to show that Willy may have chosen a profession that is at odds with his natural inclinations？
3.How is Willy’s retreat into the past a form of escape from his unpleasant present reality？How does it function as a way for Willy to cope with the failure to realize his ambitions？
4.How does Willy’s interview with Howard reveal that Willy transfers his professional anxieties onto his relationship with his family and conflates the professional and personal realms of his life？