English Grade 9 Part 3

• let other groups grade your presentation using the rubric providedTASK 10 Mind the IssuesRead an article about the US economic crisis, the Wall Street Crash and theGreat Depression. Find out how it connects with the Death of a Salesman. The Worst Depression of Modern History Together, the 1929 stock market crash and the Great Depression formedthe largest financial crisis of the 20th century. The panic of October 1929 has The Wall Street Crash had a major impact on the U.S. and world economy, and it has been the source of intense academic debate-histori- cal, economic and political – from its aftermath until the present day. Some people believed that abuses by utility holding companies contributed to Wall Street Crash of 1929 and the Depression that followed. Many people blamed the crash on commercial banks that were too eager to put deposits at risk on the stock market.http://en.wikipedia.org/wiki/File:UnemployedMarch.jpgcome to serve as a symbol of the economic contraction that gripped the worldduring the next decade. The falls in share prices on October 24 and 29, 1929were practically instantaneous in all financial markets, except Japan. The 1929 crash brought the Roaring Twenties to a shuddering halt. As ten-tatively expressed by economic historian Charles Kindleberger, in 1929 therewas no lender of last resort effectively present, which, if it had existed and wereproperly exercised, would have been key in shortening the business slowdown[s]that normally follows financial crises. The crash marked the beginning of wide-spread and long-lasting consequences for the United States. Historians stilldebate the question: did the 1929 Crash spark The Depression, or did it merelycoincide with the bursting of a loose credit-inspired economic bubble? Only 16%of American households were invested in the stock market within the UnitedStates during the period leading up to the depression, suggesting that the crashcarried somewhat less of a weight in causing the depression. 511

However, the psychological effects of the crash reverberated across the nationas business became aware of the difficulties in securing capital markets invest-ments for new projects and expansions. Business uncertainty naturally affectsjob security for employees, and as the American worker (the consumer) faceduncertainty with regards to income, naturally the propensity to consume declined.The decline in stock prices caused bankruptcies and severe macroeconomic diffi-culties including contraction of credit, business closures, firing of workers, bankfailures, decline of the money supply, and other economic depressing events. The resultant rise of mass unemployment is seen as a result of the crash,although the crash is by no means the sole event that contributed to the de-pression. The Wall Street Crash is usually seen as having the greatest impacton the events that followed and therefore is widely regarded as signaling thedownward economic slide that initiated the Great Depression. True or not, theconsequences were dire for almost everybody. Most academic experts agree onone aspect of the crash: It wiped out billions of dollars of wealth in one day, andthis immediately depressed consumer buying. The failure set off a worldwide run on US gold deposits (i.e., the dollar), andforced the Federal Reserve to raise interest rates into the slump. Some 4,000banks and other lenders ultimately failed. Also, the uptick rule, which allowedshort selling only when the last tick in a stock’s price was positive, was imple-mented after the 1929 market crash to prevent short sellers from driving theprice of a stock down in a bear raid. Economists and historians disagree as to what role the crash played in sub-sequent economic, social, and political events. The Economist argued in a 1998article that the Depression did not start with the stock market crash. Nor was itclear at the time of the crash that a depression was starting. They asked, “Can avery serious Stock Exchange collapse produce a serious setback to industry whenindustrial production is for the most part in a healthy and balanced condition?”They argued that there must be some setback, but there was not yet sufficientevidence to prove that it will be long or that it need go to the length of producinga general industrial depression. But The Economist also cautioned that some bank failures are also to be ex-pected and some banks may not have any reserves left for financing commercialand industrial enterprises. They concluded that the position of the banks is thekey to the situation, but what was going to happen could not have been foreseen.” Academics see the Wall Street Crash of 1929 as part of a historical processthat was a part of the new theories of boom and bust. According to economistssuch as Joseph Schumpeter and Nikolai Kondratieff and Charles E. Mitchell, the 512

crash was merely a historical event in the continuing process known as economiccycles. The impact of the crash was merely to increase the speed at which thecycle proceeded to its next level. Milton Friedman’s A Monetary History of the United States, co-written withAnna Schwartz, advances the argument that what made the “great contraction”so severe was not the downturn in the business cycle, protectionism, or the 1929stock market crash in themselves - but instead, according to Friedman, whatplunged the country into a deep depression was the collapse of the bankingsystem during three waves of panics over the 1930-33 period. Guide Questions: 1. What is the Wall Street Crash? What is another term synonymous with Wall Street? 2. What happened during the Great Depression? 3. What is meant by the line “the Roaring Twenties” was put to a halt because of the Great Depression? 4. Does the article say that the Wall Street Crash caused the Depression? Explain your answer. 5. Is this economic phenomenon still happening today in the US? Give ex- amples. 6. In the history of the Philippines, has there been a similar event like the Wall Street Crash and Great Depression? 7. In the Death of a Salesman, Willy Loman is a salesman who depended on sales to earn a living. How is his being a salesman affected by the Great Depression? 8. How will this article help explain the financial difficulty experienced by the Lomans? 513

9. How does the Great Depression connect with the American Dream?TASK 11 Cause + Effect EFFECTS CAUSEWALL STREET CRASHEFFECTS GREAT DEPRESSION CAUSE 514

Copy the cause-effect chart. Fill in the chart with the correct answer from thearticle.TASK 12 Share Your ProhibitionsThe Wall Street Crash and the Great Depression have their causes and effects.What do you think can be done to prevent this from happening again? Completethe sentences below.To be ready for an economic To win over an economic crisis,crisis, I can’t ….I can… I mustn’t… We can’tWe can … We mustn’tA. Study the following sentences. What do the underlined words in each sentence suggest? How do we call these underlined words? 1. Can you speak louder when delivering your lines?Remember: Can is a modal often used to ask for and give permission.It means something is allowed and can be done.Both can’t and mustn’t are modals used to show that something isprohibited – its not allowed.Can’t tells us that something is against the rules. Mustn’t is usuallyused when the obligation comes from the person who is speaking.Source: http://learnenglish.britishcouncil.org/en/grammar-reference/modals-1515

2. You can take a deep breath before rendering your speech.3. Other speakers mustn’t make noise while one speaker is on stage.4. You can’t speak before a big audience if you are nervous.TASK 13 Use Your ProhibitionsRead the following sentences. Use the correct modals of prohibitions in each ofthe sentences. 1. _______ I stay with the group? 2. You _______ park here, ma’am. The parking lot is full. 3. You ______ wear shirts but you _____ wear jeans in the pool. 4. You _____ use Mandela’s speech to inspire the youth. 5. You _______ make noise while the session is on going.B. Write down five things you would prohibit performers from doing during a presentation or a delivery of a speech. You may also include the prohibitions for the audience.Performers can’t… Audience mustn’t…C. This time, you can now suggest to the production staff the props for the play. List them down in the table below. Give reasons for using them. 516

Props Needed for the Play Reasons for Using ThemTASK 14 Share Your ProhibitionsDo you still remember the presentations done by all the groups? Go over thescores you have given the other groups. What do you think can they do to im-prove their performance? Write your sentences in your notebook. Focus on theuse of mustn’t and can’t. To: Group ______ From: Group ______ Subject: Points for Improvement On projection: On the use of facial expression:TASK 15 Mind Your WordsHere are some terms which you should remember as you prepare for the stagingof your play. You must try to find out the meaning of some terms pertaining totheater. Write True if you think the statement is the right definition of the giventerms and False, if not. Be sure to support your answer. 1. Dress rehearsal is a reading of a script done by actors who have not previously reviewed the play. 2. Cold reading means rehearsals where technical elements such as sound and lighting are added to the show. 3. Pacing is the final few rehearsals just prior to opening night in which the show is run with full technical elements. Full costumes and makeup are worn. 4. Tech rehearsal is the tempo of an entire theatrical performance. 517

5. Informal theater focuses on public performance in front of an audience and in which the final production is most important. __________ 6. Formal theater focuses on small presentations, such as one taking place in a classroom setting. Usually, it is not intended for public view. YOUR FINAL TASKTASK 16 Review Rewind There are some things performers and audiences are prohibited from doingduring a performance. Reviewers of the play will always see through what isgoing on in a play. Analyze this sample play review. Then, accomplish the checklist for writinga play review. Sample High School Play Review Come out and support your theater department performing the highenergy classic, Grease! It’s fun from beginning to end, and you’ll see justhow talented Cleveland High is. The show starts out with the school year beginning once again, as Danny(senior John Jones) and new student Sandy (senior Leslie Smith) retelltheir summer love through song. They soon realize that they’re both at thesame school and can potentially continue their love affair. Seniors MarkKim, Rick Lanford, Aaron Burns, and Junior Paul Rodriguez play the“T-Birds,” the fun-loving, toe-tapping, greaser gang that Danny belongs to.And seniors Anne Porter, Samantha Lilith, sophomore Rhonda Jen, andfreshman Mandy Cane play the sassy “Pink Ladies.” Both groups are fullof talent, although some voices are much stronger than others. The costume design, by senior Missy Taylor, assisted by freshmen LilyRand and Johnny Good, consists of classic ‘50s poodle skirts and lettermanjackets. The set design is courtesy of senior Mark Williams, who was assisted 518

by sophomore Kelly McCoy and junior Ray Chen, and those with a keeneye might recognize some Cleveland High landmarks in the background. The play is directed by Mrs. Wilson, head of the theater department,and she clearly knows a thing or two about directing a musical! Each actor,from the smallest role to the largest, has their moments and knows exactlywhat they’re supposed to be doing. The choreography, created by juniorMarissa Strauss, is simple enough for each actor to perform it well, yetdiverse enough to hold the audience’s attention. I’ve seen Grease done many times by teenagers, and this has been oneof my favorite productions! I found myself smiling throughout and want-ing to sing along to my favorite songs. With only one more weekend leftof this short run, I suggest you dance your way to the auditorium so youdon’t miss it!http://www.wikihow.com/Sample/High-School-Play-ReviewFill out the play review checklist with your partner.Points to Consider Your Response Your Reason(s) (Yes/No)Is the sample play review inter-esting to read?Does the review include a briefsummary of the play?Does it give a clear idea of whatthe play is about?Does the play review talk aboutthe acting of the cast? 519

Does the play review mention the technical aspects (props, music, production) of the play?Based on all your answers, what do you think should be considered when writinga play review?TASK 17 Time to ReviewYour teacher will show the class a video clip of a play. Using the tips you’velearned in writing a play review, come up with your group’s play review to in-clude the following: • introduction • summary statement of the play (what the play is all about) • acting of the cast • technical aspect of the production (props, improvisation, background music) This is all part of your request to the PTA whom you’ve been persuading toinvest in your school production. You need to practice writing your play reviewso you’ll be prepared to sell your play to other stakeholders.MY TREASURE In this part of the lesson, you are going to write down the insights and learn- ing you’ve had for the week. Don’t forget to include the lesson or topic which you want to continue learning and the persons whom you think can help youlearn them.This week, I learned I will continue learning To learn this, I will seekthat... about... help from... 520

LESSON 4DISCERNING FUTURE OPPORTUNITIES “We are made wise not by the recollection of our past but by the responsibility of our future.” —George Bernard ShawYOUR JOURNEY It is an exciting world out there. A lot of new things are emerging in our everchanging world. It is our responsibility to discern what to follow and what tobelieve in. While we enjoy the changes the world has to offer, we should still begrounded on the values that shape our being. They will guide us in our journeythrough life and our quest for a better future for ourselves and for others. This week opens up with sample playbills that are enjoyed by play enthusiastsaround the world. A speech excerpt that highlights a social issue makes for aninsightful read in the succeeding part of the lesson. Opportunities to hone yourskills are provided through the various activities. YOUR OBJECTIVESTo keep track of your valuable journey, you are expected to:• formulate predictions based on the material viewed• differentiate biases from prejudices• use the appropriate suprasegmentals: pitch, stress, intonation, juncture, etc.• be familiar with the technical vocabulary for drama and theater (like stage directions)• analyze literature as a means of understanding unchanging values in a chang- ing world• determine tone, mood, technique, and purpose of the author• judge the relevance and worth of ideas, soundness of author’s reasoning, and the effectiveness of the presentation• change direct speech to indirect speech and vice versa• compose a play review• perform a one-act play 521

YOUR INITIAL TASKSTask 1 Nancy Drew or Tintin? All plays performed on stage have playbills. The playbill contains the namesof characters, the playwright, production staff, and the synopsis. Look closelyat the sample playbills of different plays provided. Through the playbill’s coverand the play’s title, predict what the play is all about. Write down your reasonfor your answer. Check if your prediction is right by listening to the synopsis ofthe play to be read by your teacher. For every correct prediction, give yourselffive points. I think Mamma Mia is about _____________ _________________________________________ ________________________________________ My reasons are__________________________ ________________________________________ ________________________________________ _________________________________________ I think Wicked is about ___________________ _________________________________________ __________________________________ My reasons are _________________________ _________________________________________ _________________________________________ ________________________________________ I think Hairspray is about _______________ _______________________________________ ________________________________________ My reasons are _________________________ _________________________________________ _________________________________________ ________________________________________ If you scored 15 points, it’s confirmed! You have the making of a detective.You could be the next Nancy Drew (the girl detective in a mystery fiction series )or Tintin (the adventurer and hero of the comic series The Adventures of Tintin).Keep predicting and develop your critical thinking skills. 522

Task 2 What’s in a Play? You have read the play Death of a Salesman, Act I. Do you think this 1950playbill cover of Death of a Salesman captures the message of the play? Why? This time, you will not just read or look at the playbill cover of Death of aSalesman. You will watch the video of Death of a Salesman, Act I from LongmontHigh School Drama Club from www.youtube.com/watch?v=xDgpeV3D7XE.After watching, be ready to accomplish the grid.Guess the events that would take place Your reasons … in Act II & Requiem123Did you enjoy watching the video? Don’t forget your answers as you will validatethem when you read Act II and Requiem of Death of a Salesman. Also, in this activity you made reasonable guesses. You have predicted pos-sible events that could take place in the play. You backed up your predictionswith reasons or justifications. 523

Can you name events or happenings in your life wherein your predictionactually happened? Write your answer in your notebook.Task 3 Speak with Feelings… Practice reading the following lines from Act I of Death of a Salesman. Usenon-verbal strategies in delivering your lines. Be guided by the following tips: Project Speak in a clear and appropriate manner so lines are clearly under- stood Express Put expression into your lines - bring life to the character. Do more than just read lines from the script. Observe proper juncture. Pause when necessary. Use the right stress and pitch in your voice to deliver your lines well.Try this sceneLinda: (trying to bring him out of the topic): 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 change! I want Swiss cheese. Why am I always being con- tradicted?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.After trying out this scene, be able to do the following:• form your group• select your favorite scene from the play• assign each member a character to play• practice delivering the lines following the given tips 524

• present your chosen scene to the class• get feedback from the class; and as soon as you’re done presenting• be able to give feedback to the other groupsYOUR TEXT Death of a Salesman, Act I Arthur MillerTask 4 Plot the Events Arrange the events according to how they happened in the play. Write firstfor the first event, for the second event, and so on. Events Order OrderWilly yells at Biff. Happy tries to change the topicby suggesting that he and Biff enter the sportinggoods business. Willy likes the idea and gives Bifftips on how to be successful at it.Tired from an unsuccessful sales trip, Willy Lomanreturned to his home one night.Willy has the habit of talking to himself in thekitchen. While he was doing this, Biff and hisyounger brother Happy who happens to be alsovisiting, remember their growing up years to-gether. They talk about their father’s babblingtoo which always lead to Willy’s dissatisfactionover what happened to Biff’s life career. EventsWilly talks about a successful sales trip but Lindamakes him admit that his trip was not success-ful. As Linda consoles him, Willy engages in yet 525

another daydream, he hears the laughter of hismistress whom he has given brand new stockings.He continues with his flashback, this time withLinda in the kitchen mending her stockings. Thisangers Willy and orders Linda to throw her stock-ings away.The daydream ends but Willy continues to whisperto himself. Happy tries to quiet him. But Willyshouts his regrets for not going to Alaska withhis brother Ben.Charley comes in having heard the noise. Theyplay cards together with Charley offering him ajob. Willy calls Charley Ben several times whichagitates him. Charley leaves.In yet another flashback, young Linda enters andmeets Ben who talks about his travels and hisfortune in Alaska. Willy continues the daydreamwith Charley and Bernard telling him that Biffand Happy have stolen lumber. Ben leaves butWilly continues to talk to him.Reality sets in, Linda finds Willy outside. Motherand sons discuss Willy’s condition, scolds Biff forarguing with his father. Biff tells her Willy is afake but does not explain why. Linda tells themthat Willy has tried to kill himself. Happy rebukesBiff for not making it big in the business world. 526

Task 5 Know Your PurposeAnswer the following questions about our featured play, Death of a Salesman.1. One of the major characters in the play, Willy Loman, did some daydreaming and slipped back to the past in the middle of a present conversation with his family. It happened in several scenes in the play. What do you call this type of literary technique?2. What is the prevailing mood in the play? Describe it.3. What are the symbols used by the author in Act 1? What do these symbols stand for?4. What is the theme or message of the play prevalent in Act 1?5. The author, Arthur Miller, wrote the play during the height of American cap- italism. What do you think is his purpose for writing Death of a Salesman?6. Death of a Salesman is acclaimed by critics as the great American tragedy. What does this mean?7. American forefathers defined American Dream with a moral vision of liberty, equality and truth. Compare and contrast the American Dream of America’s founders with that of Arthur Miller in Death of a Salesman? 527

YOUR DISCOVERY TASKSTask 6 Justify Ideas Read the video transcript of America’s President Barack Obama. Find outthe issue he has presented in his message to the American people. Obama: ‘There Were No Winners In This’ Government Shutdown President Barack Obama’s Address to the Americans http://www.huffingtonpost.com Hi everybody. This week, because Democrats and responsible Re- publicans came together, the government was reopened, and the threat of default was removed from our economy. There’s been a lot of discussion lately of the politics of this shutdown. But the truth is, there were no winners in this. At a time when our economy needs more growth and more jobs, the man- ufactured crises of these last few weeks actually harmed jobs and growth. And it’s understandable that your frustration with what goes on in Washington has never been higher. The way business is done in Washington has to change. Now that these clouds of crisis and uncertainty have lifted, we need to focus on what the majority of Americans sent us here to do – grow the economy, create good jobs, strengthen the middle class, lay the foundation for broad-based prosperity, and get our fiscal house in order for the long haul. It won’t be easy. But we can make progress. Specifically, there are three places where I believe that Democrats and Republicans can work together right away. First, we should sit down and pursue a balanced approach to a responsible budget, one that grows our economy faster and shrinks our long-term deficits further. There is no choice between growth and fiscal responsibility – we need both. So we’re making 528

a serious mistake if a budget doesn’t focus on what you’re focusedon: creating more good jobs that pay better wages. If we’re goingto free up resources for the things that help us grow – education,infrastructure, research – we should cut what we don’t need, andclose corporate tax loopholes that don’t help create jobs. Thisshouldn’t be as difficult as it has been in past years. Remember, ourdeficits are shrinking – not growing. Second, we should finish the job of fixing our broken immi-gration system. There’s already a broad coalition across Americathat’s behind this effort, from business leaders to faith leaders tolaw enforcement. It would grow our economy. It would secure ourborders. The Senate has already passed a bill with strong bipartisansupport. Now the House should, too. The majority of Americansthinks this is the right thing to do. It can and should get done bythe end of this year. Third, we should pass a farm bill – one that America’s farmersand ranchers can depend on, one that protects vulnerable childrenand adults in times of need, and one that gives rural communitiesopportunities to grow and the longer-term certainty they deserve. We won’t suddenly agree on everything now that the cloudof crisis has passed. But we shouldn’t hold back on places wherewe do agree, just because we don’t think it’s good politics, or justbecause the extremes in our parties don’t like compromise. I’ll lookfor willing partners from either party to get important work done.There’s no good reason why we can’t govern responsibly, withoutlurching from manufactured crisis to manufactured crisis. Becausethat isn’t governing – it’s just hurting the people we were senthere to serve. Those of us who have the privilege to serve this country have anobligation to do our job the best we can. We come from differentparties, but we’re Americans first. And our obligations to you mustcompel all of us, Democrats and Republicans, to cooperate, andcompromise, and act in the best interests of this country we love. Thanks everybody, and have a great weekend. 529

Answer the following questions about President Obama’s address.1. What is the issue presented in the speech?2. Are the terms used clearly defined and applied throughout the message?3. Is the thesis (the point to be made) clearly and directly stated? What is the thesis statement?4. Are facts provided as evidence? If so, identify them.5. Is the reasoning sound and logical? (Does one point follow from another?)6. What persuasive devices or propaganda techniques does the author use (ex- amples: appeal to emotions, name-calling, appeal to authority)?7. Does the author succeed in persuading you to accept his argument?8. Is there an issue similar to the one presented here in the Philippines? Explain your answer.9. How is this article related with the Wall Street Crash and Great Depression of the 1930s in America?Task 7 Validate Info Statements below are taken from President Obama’s There Were No Win-ners… address. Identify which among the statements contain factual informa-tion (statements that can be verified or proven to be true or false) or subjectivecontent (involves judgment, feeling, opinion, intuition, or emotion rather thanfactual information). Write F for factual and S for subjective. 1. There were no winners in this government shutdown. 2. At a time when our economy needs more growth and more jobs, the man- ufactured crises of these last few weeks actually harmed jobs and growth. 3. The way business is done in Washington has to change. 4. First, we should sit down and pursue a balanced approach to a responsible budget, one that grows our economy faster and shrinks our long-term deficits further. 5. Second, we should finish the job of fixing our broken immigration system. There’s already a broad coalition across America that’s behind this effort, 530

from business leaders to faith leaders to law enforcement. It would grow our economy. It would secure our borders. 6. The Senate has already passed a bill with strong bipartisan support. 7. Those of us who have the privilege to serve this country have an obligation to do our job the best we can.Task 8 Direct the Indirect way Aside from knowing how to distinguish factual from opinionated or subjec-tive statements, it is also important to back up factual information with directquotes or reported statements. These will give more credibility to the facts youwill present. Work on this. Compare and contrast the following sentences. ABPresident Obama said, “There President Obama said there werewere no winners in this govern- no winners in this governmentment shutdown.” shutdown. “We need to grow the econ- He emphasized that we neededomy, create good jobs, strength- to grow the economy, create gooden the middle class, and get our jobs, strengthen the middle class,fiscal house ready,” he empha- and get our fiscal house ready.sized. Obama said it would not be Obama said,“It won’t be easy.easy.”1. What made sentences A different from sentences B?2. What is their similarity?3. When do we use sentences A? sentences B?531

Task 9 Practice the Direct and Indirect WaysA. Read carefully the examples of direct and indirect sentences. Tell whether the sentences changed from direct to indirect are correctly written. Write your choice, whether correct or incorrect, and explain your answer.1. Mia said “I want to watch the play.” Mia said that she wants to watch the play.2. Lanze said, “I am going with you.” Lanze said that he was going with her.3. “I saw the play with Brayden yesterday,” said Pauline. Pauline said she saw the play with Brayden yesterday.4. Niko said, “Mommy and I will watch the play in Resorts World.” Niko said he and his Mommy will watch the play in Resorts World5. Grandmother said, “What can you learn from that play?” Grandmother asked what we could learn from the play.B. Change the following direct statements to indirect statements or vice versa.1. Biff said, “I just can’t focus on my job.”2. “I am tired to the death,” said Willy.3. Linda replied, “Your mind is overactive, and the mind is what counts.”4. “I have worked a lifetime to pay off a house but now there’s nobody to live, in it,” said Willy.5. Willy told Biff that not finding himself at the age of 34 was a disgrace!6. Linda said, “People had to move somewhere.”7. Happy said that everybody around him was so false that he was constantly lowering his ideals.8. Willy said, “The world is an oyster, but you don’t crack it open on a mattress.”9. “A small man can be just as exhausted as a great man,” said Linda.10. Linda said that there was more good in Willy than in many other people. 532

Task 10 Time for Theater Remember the terms pertaining to theater we discussed in the previouslesson? Let’s see how well you could define the following terms used in theater.1. Dress rehearsal2. Cold reading means3. Pacing4. Tech rehearsal5. Informal theater6. Formal theater7. Mime8. Improvisation9. Melodrama10. Musical Theater11. Playbill YOUR FINAL TASKTask 11 Play and Review! You are given another opportunity to watch Act 1 of Death of a Salesman onvideo. This time get yourself ready to write a play review about it. Be guided bythe parts of the play review.• Introduction• Thesis Statement and Summary• Body of the Paper: The Review (including the performance of the cast and the technical aspect of production)• Conclusion (recommendation) 533

Remember that the play review you will write will serve as basis for the PTA’sfunding approval. The Organization is willing to fund your production if they willbe impressed by your review. You should not make your review very long. Youneed to practice writing your play review so you’ll be prepared to sell your playto other stakeholders. Take note of the standard for scoring your play review. Criteria 10 pts. 7 pts. 5 pts. 3 pts.Understanding The theme There is little There is at There is at of the play is evidence toOpinion least one least one partly men- show under- paragraph paragraph tioned in the standing ofConventions that mentions that mentions paragraph what the play the theme of the theme of and included is about. Only the play and the play and only two char- one character has identified included three acters. is identified all the names names of the and described. of the charac- characters and At least two ters and their their descrip- reasons are An opinion is description. tions. given why the given with no group does or real reason. At least five At least three does not like reasons are reasons are the play. The work has given why the given why the many errors in group does or group does or The work grammar and does not like does not like needs edit- spelling and the play using the play. ing for many it interferes appropriate grammar with meaning. words. The work has and spelling few grammar errors. The work is and spelling free (almost errors. free) of gram- mar and spell- ing errors. 534

Teamwork All the mem- One or two Three or more Only the team bers in the members do members do leader worksElements of team contrib- not contribute not contrib- in the group.the Play ute to the to the work. ute in to the work. work. Elements of a Certain el- play are not All elements ements are Different mentioned are described described elements of a nor described. in detail and and critiqued play are men- critiqued (dialogue, tioned. (dialogue, acting, stag- acting, stag- ing, costumes, ing, costumes, props, musical props, musical scoring, etc.) scoring, etc.)MY TREASURE In this part of the lesson, you are going to write down the insights and learningyou’ve had for the week. Don’t forget to include the lesson or topic which youwant to continue learning and the persons whom you think can help you learnthem. Do this in your notebook.This week, I learned that... I will continue learning To learn this, I will ask about... help from... 535

LESSON 5RECTIFYING ONE’S MISTAKES YOUR JOURNEY Committing mistakes is innate to all people and hence inevitable. Errors which are varied in nature sometimes hurt us, our family, and our community which eventually make us feel guilty. Corrective measures can be taken to regain redemption of our dignity in the place we live in. This lesson will help you become assertive by taking a stand pertaining to a critical issue that affects your decision as a student and as an individual citizen. Values which we hold dear will be revealed and emphasized to enhance our thinking capacity and emotional stability. YOUR OBJECTIVES To be able to shape you into a clever discerning individual, your hands-on les- sons must aim to: • take a stand on critical issues brought up in the material viewed • judge the relevance and truthfulness of the ideas listened to • judge the relevance and worth of ideas, soundness of author’s reasoning, and the effectiveness of the presentation • use the appropriate pitch, stress, juncture, and intonation • analyze literature as a means of understanding unchanging values in a changing world • determine tone, mood, technique, and purpose of the author • change direct speech to indirect speech and vice-versa • familiarize technical vocabulary for drama and theater (like stage directions) • compose a play review (make a playbill) 536

YOUR INITIAL TASKSLet’s start your lesson’s engagement with the interesting activities wherein youwill be expected to make a stand about a particular issue which you should beaware of. This may not be so easy for you but if you will be patient and concen-trate on the details, you will be able to accomplish the tasks.TASK 1 Standing Up for Good Study the ads below, and then decide whether you will be in favor or againsta particular issue being raised. Answer the following questions: A. B.NO to MATERIALISM NO to PORK BARREL1. What is your stand?2. What helped you decide?3. What did you use as a basis in decision-making?4. If you would be given the opportunity to talk to someone regarding the issues of materialism and pork barrel, whom would you talk to? Why?5. What would you tell him/her? Write your answers in your notebook. 537

TASK 2 Relating the Truth Listen as your teacher play a recorded news article and then, take note of theimportant details for you to be able to fill–out the table of the facts mentionedin the text. The Issue The Speaker’s The Problem The ProposedA. Stand SolutionB.TASK 3 Digging for Details Form a small group to come up with a panel of discussants to tackle the issuesin Task 2 “Relating the Truth.” Use the data that you gathered from this activityin digging for the relevance and truthfulness of the ideas presented. Considerthe following tips:Guidelines for Conducting a Panel DiscussionA panel discussion is designed to provide an opportunity for a group to hear severalpeople knowledgeable about a specific issue or topic, present information, anddiscuss personal views. A panel discussion may help the audience further clarifyand evaluate their positions regarding specific issues or topics being discussedand increase their understanding of the positions of others.How to ProceedIdentify, or help participants identify, an issue or topic that involves an import-ant conflict in values and/or interests. The issue or topic may be set forth as atopical question, a hypothetical incident, a student experience, or an actual case. 1. Select panelists who are well informed about and have specific points of view regarding the issue or topic. A panel that includes three to five panelists is usually the most workable. Select a leader or moderator. 2. Indicate to the panelists the objectives of the panel discussion which is designed to promote and allow-time for panel members to prepare for 538

the discussion. In some situations ten or fifteen minutes may be sufficient time for preparation while in other situations, panel members may need to prepare several weeks in advance of the scheduled discussion. 3. Decide upon the format the panel discussion will follow. Various formats are appropriate. The following procedures have been used effectively: a. The leader or moderator introduces the topic and the panelists present their views and opinions regarding the issue or topic for a set amount of time. b. The panelists discuss the issue or topic with each other by asking ques- tions or reacting to the views and opinions of other panel members. A specific amount of time should be established. c. The leader or moderator closes the discussion and provides a summary of panel presentations and discussion. d. The leader or moderator calls for a forum period during which the members of the class may participate by addressing questions to various panel members or by voicing their views and opinions. The forum period should be conducted by the panel leader or moderator.Principal Responsibilities of the Instructor 1. Identify, or help participants identify, issues or topics upon which to base a panel discussion. 2. Insure that all panelists and the moderator are familiar with the proce- dures for a panel discussion in advance so that they will be able to fulfill the responsibilities of their roles. 3. Assist panelists and participants (when necessary) in preparation for the discussion by directing them to various source materials, authorities in the field, etc. 4. Help participants understand the need for fair procedures in discussing an issue or topic, e.g., the freedom to discuss an issue, the obligation to listen to other points of view, the need for orderly, courteous discussion, etc. http://www2.maxwell.syr.edu/plegal/crit3/a7.html a. List down the roles of your panel members. Write your answers in your notebook. 539

My Panel RoleMember: Member: Rapporteur: Member: TASK 4 Critiquing One’s Style As you watch the panel discussion of the other group’s output, you may have noticed some strong and weak points of the participants. Be able to identify them and share your observations for improvement. You may use the rubrics in evaluating a panel discussion indicated on the next page. Write your evaluation in your notebook following the format of a note pad prepared for you. Our ObservationName of Group Who Critiqued:______________________Name of Group Being Critiqued:_____________________Strong Points: ______________________________________________________ ______________________________________________________ ______________________________________________________Weak Points: ______________________________________________________ ______________________________________________________ ______________________________________________________Suggestions for improvement: ______________________________________________________ ______________________________________________________ ______________________________________________________ 540

Rubrics for Evaluating a Panel DiscussionCommunication Beginning Developing Good Skills Excellent SkillsCorrect sentence Coherence of Still requires a Errors do not Few grammat-construction argument suf- lot of work on interfere with ical errors and fers from many the part of the the meaning – no stress on grammatical listener to un- listening stress is the part of the errors. derstand less. listener Pronunciation Errors interfere Errors still Errors do not Pronunciation is strongly with require a lot of interfere with good with few meaning. Very work on the part the meaning – or no errors. difficult to of the listener to listening stress is Easy to listen to. follow. understand. less.Appropriate Speaker is un- Speaker is still Speaker has Speaker is ablevocabulary able to find ap- grasping at use enough word to find appropri- propriate words of appropriate attack to convey ate vocabulary to convey clear vocabulary. general mean- with ease. meanings. ing.  Well organized Arguments not Arguments par- Arguments Arguments welloral text with staged – no tially staged, but staged well, and staged and de-staging logical develop- sequencing is most developed veloped logically ment still confusing logically  Gives information Rarely supports Sometimes sup- Usually supports  Always supports ports argument argument with argument withwith supporting argument with with evidence evidence evidenceevidence evidence  Demonstrates Never asks oth- Makes short, Attempts more Can formu-understanding of er panelists for simple com- detailed clar- late preciseother panelists’ clarification, or ments on other ification or comments andviews/able to makes a com- panelists’ argu- comments on clarification ofclarify ment on their ments other panelists’ other panelists’ argument arguments arguments   Source: http://www.users.on.net/~katef/detention/panel.htm 541

YOUR TEXTTASK 5 Twisting the Meaning (Dyads) You are about to discover the climax of the play which you have started read-ing. But before you start, explore the meaning of expressions taken from the textand then give them your own interpretation. Write your answers in a grid below. Expressions My Twisted MeaningGot to pull his own weightScrew on your fistsSky is the limitEnd up worth more dead than aliveDrink us under the table The questions under “preparing to read” will help you in understanding theDeath of a Salesman better. Read and brainstorm with your group mates theanswer to these questions for you to be able to solicit other ideas.TASK 6 Preparing to Read1. How is the American Dream characteristic of American ideals and phi- losophy?2. What is the difference between the materialistic and the idealistic values associated with the American Dream?3. What was happening economically and socially in the United States in 1949? Was it fairly easy or difficult to get a job? What was America’s standing in the world?4. What is your definition of a salesman? How is a salesman different from someone in another occupation? What attitudes do you think a salesman should have to be successful? What attitudes would hinder him?5. What effect do the expectations of parents have on the behavior of their children? In what ways might parental expectations be beneficial? In what ways might they be detrimental? 542

TASK 7 Exploring the Text Read the text silently but as you do it, try to find the answers to the followingquestions. Be able to determine which paragraph gives you the answer. 1. Why is Willy’s mood upbeat at the start of Act II? What does he expect to happen? 2. Why does Willy tell Howard about Dave Singleman? Describe the dramatic effect when Howard listens to the voices of his family while Willy tries to talk business. Why does Howard tell Willy to drop off his samples and forbid him to go to Boston? Why is this such a blow to Willy? 3. What is Willy’s philosophy? How does Biff as a football hero embody his father’s dreams? Why does Charley say Willy hasn’t grown up? 4. What is Willy’s impression of Bernard when he sees him in his father’s office? Why does Willy exaggerate Biff ’s importance? Why does Bernard ask what happened after the game at Ebbets Field? 5. Why won’t Willy work for Charley? Why is Willy able to ask Charley for money? How is Charley’s view of what a salesman needs different from Willy’s view? 6. In the restaurant, how does Happy reflect Willy’s values? Why does the author Miller have the girls come in? 7. How does Biff ’s realization that his life is a lie underline the theme of the play? Why does Biff take Bill Oliver’s fountain pen? Why can’t he tell his father what happened to Bill Oliver? Why do Biff and Happy leave Willy at the restaurant? 8. Why did Biff go to Boston? What does he discover when he sees the Woman? Why is it that Biff never went to summer school? Why can’t he believe his father? 9. Why does Linda tell the boys, “Get out of here, both of you, and don’t come back!”? 10. Why does Willy keep planting seeds where they’ve never grown before? Why does Willy think Biff will be impressed with his funeral? Why does Ben say that Biff will call Willy a fool? 543

11. Why doesn’t Willy want to see Linda? Why does he think Biff is spiting on him? Why does Biff show him the rubber hose? Why does Biff confront Willy and Happy? 12. What does Biff do that elates Willy? How does Happy try to attract Willy’s attention? How does Ben influence Willy at this point? Death of a Salesman Arthur Miller Act II Music is heard, gay and bright. The curtain rises as the music fades away.Willy, in shirt sleeves, is sitting at the kitchen table, sipping coffee, his hat in hislap. Linda is filling his cup when she can.Willy: Wonderful coffee. Meal in itselfLinda: Can I make you some eggs?Willy: No. Take a break.Linda: You look so rested, dear.Willy: I slept like a dead one. First time in months. Imagine, sleeping till ten on a Tuesday morning. Boys left nice and early, heh?Linda: They were out of here by eight o’clock.Willy: Good work!Linda: It was so thrilling to see them leaving together. I can’t get over the shav- ing lotion in this house.Willy (smiling): Mmm------Linda: Biff was really changed this morning. His whole attitude seemed to be hopeful. He couldn’t wait to get downtown to see Oliver.Willy: He’s heading for a change. There’s no question, there simply are certain men that take longer to get—solidified. How did he dress?Linda: His blue suit. He’s so handsome in that suit. He could be a—anything in that suit! Willy gets up from the table. Linda holds his jacket for him.Willy: There’s no question, no question at all. Gee, on the way home tonight I’d like to buy some seeds. 544

Linda (laughing): That’d be wonderful. But not enough sun gets back there. Nothing’ll grow anymore.Willy: You wait, kid, before it’s all over we’re gonna get a little place out in the country, and I’ll raise some vegetables, a couple of chickens . . .Linda: You’ll do it yet. Willy walks out his jacket. Linda follows him.Willy: And they’ll get married, and come for a weekend. I’d build a little guest house. ‘Cause I got so many fine tools, all I’d need would be a little lumber and some peace of mind.Linda (joyful): I sewed the lining . . .Willy: I could build two guest houses, so they’d both come. Did he decide how much he’s going to ask Oliver for?Linda (getting him into the jacket): He didn’t mention it, but I imagine ten or fifteen thousand. You going to talk to Howard today?Willy: Yeah. I’ll put it to him straight and simple. He’ll just have to take me off the road.Linda: And Willy, don’t forget to ask for a little advance, because we’ve got the insurance premium. It’s the grace period now.Willy: That’s hundred…?Linda: A hundred and eight, sixty-eight. Because we’re a little short again.Willy: Why are we short?Linda: Well, you had the motor job on the car . . .Willy: That goddam Studebaker!Linda: And you got one more payment on the refrigerator . . .Willy: But it just broke again!Linda: Well, it’s old, dear.Willy: I told you we should’ve brought a well-advertised machine. Charley bought a General Electric and it’s twenty years old and it’s still good, that...Linda: But, Willy...Willy: Whoever heard of a Hastings refrigerator? Once in my life I would like to own something outright before it’s broken! I’m always in a race with the junkyard! I just finished paying for the car and it’s on its last legs. The refrigerator consumes belt like a goddam maniac. They time those things. They time them so when you finally paid for them, they’re used up. 545

Linda: (buttoning up his jacket as he unbuttons it) All told, about two hundred dollars would carry us, dear. But that includes the last payment on the mortgage. After this payment, Willy, the house belongs to us.Willy: It’s twenty-five years!Linda: Biff was nine years old when we bought it.Willy: Well, that’s a great thing. To weather twenty-five year mortgage is-----Linda: It’s an accomplishment.Willy: All the cement, the lumber, the reconstruction I put it in this house! There ain’t crack to be found in it anymore.Linda: Well, it served its purpose.Willy: What purpose? Some stranger’ll come along, move in, and that’s that. If only Biff would take this house, and raise a family . . . (He starts to go.) Good-by, I’m late.Linda (suddenly remembering): Oh, I forgot! You’re supposed to meet them for dinner.Willy: Me?Linda: At Frank’s Chop House on Forty-eight near Sixth Avenue.Willy: Is that so! How about you?Linda: No, just the three of you. They’re gonna blow you to a big meal!Willy: Don’t say! Who thought of that?Linda: Biff came to me this morning, Willy. You and your two boys are going to have dinner.Willy: Gee whiz! That’s really something’. I’m gonna knock Howard for a loop, kid. I’ll get an advance, and I’ll come home with a New York job. God- dammit, now I’m gonna do it!Linda: Oh, that’s the spirit, Willy!Willy: I will never get behind a wheel the rest of my life!Linda: It’s changing, Willy, I can feel it changing!Willy: Beyond a question. G’by, I’m late. (He starts to go again.)Linda (calling after him as she runs to the kitchen table for a handkerchief): You got your glasses?Willy (feels for them, then comes back in) Yeah, yeah, got my glasses.Linda (giving him the handkerchief): And a handkerchief.Willy: Yeah, handkerchief. 546

Linda: And your saccharine?Willy: Yeah, my saccharine.Linda: Be careful on the subway stairs. She kisses him, and a silk stocking is seen hanging from her hand. Willynotices it.Willy: Will you stop mending stockings? At least while I’m in the house. It gets me nervous. I can’t tell you. Please. Linda hides the stocking in her hand as she follows Willy across the fore-stage in front of the house.Linda: Remember, Frank’s Chop House.Willy (passing the apron): Maybe beets would grow out there.Linda (laughing): But you tried so many times.Willy: Yeah. Well, don’t work hard today. (He disappears around the right corner of the house.)Linda: Be careful! As Willy vanishes, Linda waves to him. Suddenly the phone rings. She runsacross the stage and into the kitchen and lifts it.Linda: Hello? Oh, Biff! I’m so glad you called, I just . . . Yes, sure, I just told him. Yes, he’ll be there for a dinner at six o’clock, I didn’t forget. Listen, I was just dying to tell you. You know that little rubber pipe I told you about? That he connected to the gas heater? I finally decided to go down the cellar this morning and take it away and destroy it. But it’s gone! Imagine? He took it away himself, it isn’t there! (She listens.) When? Oh, then you took it. Oh --- nothing, it’s just that I’d hope he’d taken it away himself. Oh, I’m not worried, darling, because this morning he left in such high spirits, it was like the old days! I’m not afraid anymore. Did Mr. Oliver see you? . . . Well, you wait there then. And make a nice impression on him, darling. Just don’t perspire too much before you see him. And have a nice time with Dad. He may have big news too! . . . That’s right, a New York job. And be sweet to him tonight, dear. Be loving to him. Because he’s only a little boat looking for harbor. (She is trembling with sorrow and joy.) Oh, that’s wonderful, Biff, you’ll save his life. Thanks, darling. Just put your arm around him when he comes into the restaurant. Give him a smile. That’s the boy . . . Good-by, dear . . .You got your comb? . . . That’s fine. Good-by, Biff dear. 547

In the middle of her speech, Howard Wagner, thirty-six, wheels in a smalltypewriter table on which is a wire-recording machine proceed to plug it in.This is on the left forestage. Light slowly fades on Linda as it rises on Howard.Howard is intent on threading the machine and only glances over his shoulderas Willy appears.Willy: Pst! Pst!Howard: Hello, Willy, come in.Willy: Like to have a little talk with you, Howard.Howard: Sorry to keep you waiting. I’ll be with you in a minute.Willy: What’s that, Howard?Howard: Didn’t you ever see one of these? Wire recorder.Willy: Oh. Can we talk a minute?Howard: Records things. Just got delivery yesterday. Been driving me crazy, the most terrific machine I ever saw in my life. I was up all night with it.Willy: What do you do with it?Howard: I bought it for dictation, but you can do anything with it. Listen to this. I had it home last night. Listen to what I picked up. The first one is my daughter. Get this. (He flicks the switch and Roll out the Barrel is heard being whistled.) Listen to that kid whistle.Willy: That is lifelike, isn’t it?Howard: Seven years old. Get that one.Willy: Ts, ts. Like to ask a little favor if you . . . The whistling breaks off, and the voice of Howard’s daughter is heard.Daughter: “Now you, Daddy.”Howard: She’s crazy for me! (again the same song is whistled.) That’s me! Ha! (He winks.)Willy: You’re very good! The whistling breaks off again. The machine runs silent for a moment.Howard: Sh! Get this now, this is my son.His Son: The capital of Alabama is Montgomery; the capital of Arizona is Phoe- nix; the capital of Arkansas is Little Rock; the capital of California is Sacramento . . . (And on, and on.)Howard (holding up five fingers): Five years old, Willy!Willy: He’ll make an announcer some day! 548

His Son: (continuing) The Capital . . .Howard: Get that---alphabetical order! (the machine breaks off suddenly.) Wait a minute. The maid kicked the plug out.Willy: It certainly is a---Howard: Sh, for God’s sake!His Son: It’s nine o’clock, Bulova watch time. So I have to go to sleep.Willy: That really is----Howard: Wait a minute! The next is my wife. They wait.Howard’s voice: Go on, say something. (pause) Well, you gonna talk?His Wife: I can’t think of anything.Howard’s voice: Well, talk---it’s turning.His Wife (shyly, beaten): Hello. (Silence.) Oh, Howard, I can’t talk into this. . .Howard (snapping the machine off): That was my wife.Willy: That is a wonderful machine. Can we----Howard: I tell you, Willy, I’m gonna take my camera, and my bandsaw, and all my hobbies, and out they go. This is the most fascinating relaxation I ever found.Willy: I think I’ll get one myself.Howard: Sure, they’re only a hundred and half. You can’t do without it. Sup- posing you wanna hear Jack Benny, see? But you can’t be at home at that hour. So you tell the maid to turn the radio on when Jack Benny comes on, and this automatically goes on with the radio . . .Willy: And when you come home . . .Howard: You can come home twelve o’clock, one o’clock any time you like, and you get yourself a Coke and sit yourself down, throw the switch, and there’s Jack Benny’s program in the middle of the night!Willy: I’m definitely going to get one. Because lots of time I’m on the road, and I think to myself, what I must be missing on the radio!Howard: Don’t you have a radio in the car?Willy: Well, yeah, but who ever thinks of turning it on?Howard: Say, aren’t you supposed to be in Boston?Willy: That’s what I want to talk to you about, Howard. You got a minute? He draws a chair in from a wing. 549

Howard: What happened? What’re you doing here?Willy: Well. . .Howard: You didn’t crack up again, did you?Willy: Oh, no. No . . .Howard: Geez, you had me worried there for a minute. What’s the trouble?Willy: Well, to tell you the truth, Howard, I’ve come to the decision that I’d rather not travel anymore.Howard: Not travel! Well, what’ll you do?Willy: Remember, Christmas time, when you had the party here? You said you’d try to think some spot for me here in town.Howard: With us?Willy: Well, sure.Howard: Oh, yeah , yeah. I remember. Well, I couldn’t think of anything for you, Willy.Willy: I tell ya, Howard. The kids are all grown up, y’know. I don’t need much anymore. If I could take home---well sixty-five dollars a week, I could swing it.Howard: Yeah, but Willy, see I---Willy: I tell ya why, Howard. Speaking frankly and between the two of us, y’know----I’m just a little tired.Howard: Oh, I could understand that, Willy. But you’re a road man, Willy, and we do a road business. We’ve only got a half-dozen salesmen on the floor here.Willy: God knows, Howard, I never asked a favor of any man. But I was with the firm when your father used to carry you in here in his arms.Howard: I know that, Willy, but----Willy: Your father came to me the day you were born and asked me what I thought of the name of Howard, may he rest in peace.Howard: I appreciate that, Willy, but there is just no spot here for you. If I had a spot I’d slam you right in, but I just don’t have a single, solitary spot. He looks at his lighter. Willy has picked it up and gives it to him. Pause.Willy (with increasing anger): Howard, all I need to set my table is fifty dollars a week.Howard: But where am I going to put you, kid?Willy: Look, it isn’t a question of whether I can sell merchandise, is it? 550

Howard: No, but it’s a business, kid, and everybody’s gotta pull his own weight.Willy (desperately): Just let me tell you a story, Howard----Howard: ‘Cause you gotta admit, business is business.Willy (angrily): Business is definitely business, but just listen for a minute. You don’t understand this. When I was a boy---eighteen, nineteen---I was already on the road. And there was a question in my mind as to whether selling had a future for me. Because in those days I had a yearning to go to Alaska. See, there were three gold strikes in one month in Alaska, and I felt like going out. Just for the ride, you might say.Howard (barely interested): Don’t say.Willy: Oh, yeah, my father lived many years in Alaska. He was an adventur- ous man. We’ve got quite a little streak of self-reliance in our family. I thought I’d go out with my older brother and try to locate him, and maybe settle in the North with the old man. And I was almost decided to go, when I met a salesman in the Parker House. His name was Dave Singleman. And he was eighty-four years old, and he’d drummed mer- chandise in thirty-one states. And old Dave, he’d go up to his room, y’understand, put on his green velvet slippers---I’ll never forget---and pick up his phone and call the buyers, and without ever leaving his room, at the age of eighty-four, he made his living. And when I saw that, I realized that selling was the greatest career a man could want. ‘Cause what could be more satisfying than to be able to go, at the age of eighty-four, into twenty or thirty different cities, and pick up a phone, and be remembered and loved and helped by so many different people? Do you know? When he died---and by the way he died the death of a salesman, in his green velvet slippers in the smoker of the New York, New Haven and Hartford, going into Boston—when he died, hundreds of salesmen and buyers were at his funeral. Things were sad on a lotta trains for months after that. (He stands up. Howard has not looked at him.) In those days there was personality in it, Howard. There was respect, and comradeship, and gratitude in it. Today, it’s all cut and dried, and there’s no chance for bringing friendship to bear---or per- sonality. You see what I mean? They don’t know me anymore.Howard (moving away, to the right): That’s just the thing, Willy.Willy: If I had forty dollars a week---that’s all I’d need. Forty dollars, Howard.Howard: Kid, I can’t take blood from a stone, I------Willy (desperation is on him now): Howard, the year Al Smith was nominated, your father came to me and---- 551

Howard (starting to go off): I’ve got to see people, kid.Willy (stopping him): I’m talking about your father! There where promises made across this desk! You mustn’t tell me you’ve got people to see---I put thirty-four years into this firm, Howard, and now I can’t pay my insurance! You can’t eat the orange and throw and peel away—a man is not a piece of fruit! (after a pause.) Now pay attention. Your father—in 1928 I had a big year. I averaged a hundred and seventy dollars a week in commissions.Howard (impatiently): Now, Willy, you never averaged—Willy (banging his head on the desk): I averaged a hundred and seventy dollars a week in the year of 1928! And your father came to me—or rather, I was in the office here—it was right over this desk—and he put his hand on my shoulder—Howard (getting up): You’ll have to excuse me, Willy, I gotta see some people. Pull yourself together. (Going out.) I’ll be back in a little while. On Howard’s exit, the light on his chair grows very bright and strange.Willy: Pull yourself together! What the hell did I say to him? My God, I was yell- ing at him! How could I! (Willy breaks off, staring at the light, which occupies the chair, animating it. He approaches this chair, standing across the desk from it.) Frank, Frank, don’t you remember what you told me that time? How you put your hand on my shoulder, and Frank . . . (he leans on the desk and as he speaks the dead man’s name he accidentally switches on the recorder, and instantly--)Howard’s Son: . . . of New York is Albany. The capital of Ohio is Cincinnati, the capital of Rhode Island is . . . (The recitation continues.)Willy (leaping away with fright, shooting): Ha! Howard! Howard! Howard!Howard (rushing): What happened?Willy (pointing at the machine, which continues nasally, childishly, with the capital cities): Shut if off! Shut it off!Howard (pulling the plug out): Look, Willy . . .Willy (pressing his hands to his eyes): I gotta get myself some coffee. I’ll get some coffee . . . Willy starts to walk out. Howard stops him.Howard (rolling up the cord): Willy, look . . .Willy: I’ll go to Boston.Howard: Willy, you can’t go to Boston for us. 552

Willy: Why can’t I go?Howard: I don’t want you to represent us. I’ve been meaning to tell you for a long time now.Willy: Howard, are you firing me?Howard: I think you need a good lone rest, Willy.Willy: Howard—Howard: And when you feel better, come back, and we’ll see if we can work something out.Willy: But I gotta earn money, Howard. I’m in no position—Howard: Where are your sons? Why don’t your sons give you a hand?Willy: They’re working on a very big deal.Howard: This is no time for false pride, Willy. You go to your sons and tell them that you’re tired. You’ve got two great boys, haven’t you?Willy: Oh, no question, no question, but in the meantime . . .Howard: Then that’s that, heh?Willy: I can’t throw myself on my sons, I’m not a cripple!Howard: Look, kid, I’m busy this morning.Willy (hard, keeping himself under control): I’ve got a line of people to see this morning. Sit down, take five minutes, and pull yourself together, and then go home, will ya? I need the office, Willy. (He starts to go, turns, remembering the recorder, starts to push off the table holding the recorder.) Oh, yeah. Whenever you can this week, stop by and drop off the samples. You’ll feel better, Willy, and then come back we’ll talk. Pull yourself together, kid, there’s people outside. Howard exits, pushing the table off left. Willy stared into the space, exhaust-ed. Now the music is heard—Ben’s music—first distantly, then closer, closer. AsWilly speaks, Ben enters from the right. He carries valise and umbrella.Willy: Oh, Ben, how did you do it? What is the answer? Did you wind up the Alaska deal already?Ben: Doesn’t take much time if you know what you’re doing. Just a short busi- ness trip. Boarding ship in an hour. Wanted to say good-by.Willy: Ben, I’ve got to talk to you.Ben (glancing at his watch): Haven’t the time, William.Willy (crossing the apron to Ben): Ben, nothings working out. I don’t know what to do. 553

Ben: Now, look here, William. I’ve bought Timberland in Alaska and I need man to look after things for me.Willy: God, timberland! Me and my boys in those grand outdoors!Ben: You’ve a new continent at your doorstep, William. Get out of these cities, they’re full of talk and time payments and courts of law. Screw on your fists and you can fight for a fortune up there.Willy: Yes, yes! Linda! Linda! Linda enters as of old, with the wash.Linda: Oh, you’re back?Ben: I haven’t much time.Willy: No, wait! Linda, he’s got a proposition for me in Alaska.Linda: But you’ve got—(to Ben.) He’s got a beautiful job here.Willy: But in Alaska, kid, I could—Linda: You’re doing well enough, Willy!Ben (to Linda): Enough for what, my dear?Linda (frightened of Ben and angry at him): Don’t say those things to him! Enough to be happy right here, right now. (To Willy, while Ben laughs.) Why must everybody conquer the world? You’re well liked and the boys love you, and someday—(to Ben)—why, old man Wagner told him just the other day that if he keeps it up he’ll be a member of the firm, didn’t he, Willy?Willy: Sure, sure. I am building something with this firm, Ben, and if a man is building something he must be on the right track, mustn’t he?Ben: What are you building? Lay your hand on it. Where is it?Willy (hesitantly): That’s true, Linda, there’s nothing.Linda: Why? (to Ben) There’s a man eighty-four years old—Willy: That’s right, Ben, that’s right. When I look at that man I say, what is there to worry about?Ben: Bah!Willy: It’s true, Ben. All he has to do is go into any city, pick up the phone, and he’s making his living and you know why?Ben (picking up his valise): I’ve got to go.Willy (holding Ben back): Look at this boy! 554

Biff, in his high school sweater, enters carrying suitcase. Happy carriesBiff’s shoulder guards, gold helmet, and football pants.Willy: Without a penny to his name, three great universities are begging for him, and from there the sky’s the limit, because it’s not what you do, Ben. It’s who you know and the smile on your face! It’s contacts, Ben, contacts! The whole wealth of Alaska passes over the lunch table at the Commodore Hotel, and that’s the wonder, the wonder of this country, that a man can end with diamonds here on the basis of being liked! (He turns to Biff.) And that’s why when you get out on that field today it’s important. Because thousands of people will be rooting for you and loving you. (To Ben, who has again begun to leave.) And Ben! When he walks into a business office, his name will sound out like a bell and all the doors will open to him! I’ve seen it, Ben, I’ve seen it a thousand times! You can’t feel it with your hand like timber, but it’s there!Ben: Good-by, William.Willy: Ben, am I right? Don’t you think I’m right? I value your advice.Ben: There’s a new continent at your doorstep, William. You could walk out rich. Rich. (He is gone.)Willy: We’ll do it here, Ben! Your hear me? We’re gonna do it here! Young Bernard rushes in. The gay music of the boys is heard.Bernard: Oh, gee, I was afraid you left already!Willy: Why? What time is it?Bernard: It’s half-past one!Willy: Well, come on, everybody! Ebbets field next stop! Where’s the pennants? (He rushes through the wall-line of the kitchen and out into the livingroom.)Linda (to Biff): Did you pack fresh underwear?Biff (who has been limbering up): I want to go!Bernard: Biff, I’m carrying your helmet, ain’t I?Happy: No, I’m carrying the helmet.Bernard: Oh, Biff, you promised me.Happy: I’m carrying the helmet.Bernard: How am I going to get in the locker room?Linda: Let him carry the shoulder guards. (She puts her coat and hat on in the kitchen.)Bernard: Can I, Biff? Cause I told everybody I’m going to be in the locker room. 555

Happy: In Ebbets Field it’s the clubhouse.Bernard: I meant the clubhouse, Biff!Happy: Biff!Biff (grandly, after a slight pause): Let him carry the shoulder guards.Happy (as he gives Bernard the shoulder guards): Stay close to us now. Willy rushes in with the pennants.Willy (handing them out): Everybody wave when Biff comes out on the field. (Happy and Bernard run off.) You set now, boy? The music has died away.Biff: Ready to go, Pop. Every muscle is ready.Willy (at the edge of the apron): You realize what this means?Biff: That’s right, Pop.Willy (feeling Biff’s muscles): You’re coming home this afternoon captain of the All Scholastic Championship Team of the City of New York.Biff: I got it, Pop. And remember, pal, when I take off my helmet, that touch- down is for you.Willy: Let’s go! (He is starting out, with his arm around Biff, when Charley enters, as of old, in knickers.) I got no room for you Charley.Charley: Room? For what?Willy: In the car.Charley: You goin’ for a ride? I wanted to shoot some casino.Willy (furiously): Casino! (Incredulously) Don’t you realize what today is?Linda: Oh, he knows, Willy. He’s just kidding you.Willy: That’s nothing to kid about!Charley: No, Linda, what’s goin’ on?Linda: He’s playing in Ebbets Fields.Charley: Baseball in this weather?Willy: Don’t talk to him. Come on, come on! (He pushing them out.)Willy: Wait a minute, didn’t you hear the news?Willy: What?Charley: Don’t you listen to the radio? Ebbets Field just blew up.Willy: You go to hell! (Charley laughs. Pushing them out.) Come on, come on! We’re late. 556

Charley (as they go): Knock a homer, Biff, knock a homer!Willy (the last to leave, turning to Charley): I don’t think that was funny, Char- ley. This is the greatest day of his life.Charley: Willy, when are you going to grow up?Willy: Yeah, heh? When this game is over, Charley, you’ll be laughing out of the other side of your face. They’ll be calling him another Red Grange. Twenty-five thousand a year.Charley (kidding): Is that so?Willy: Yeah, that’s so.Charley: Well, then, I’m sorry, Willy. But tell me something.Willy: What?Charley: Who is Red Grange?Willy: Put up your hands. Goddam you, put up your hands! Charley, chuckling, shakes his head and walks away, around the left cornerof the stage. Willy follows him. The music rises to a mocking frenzy.Willy: Who the hell do you think you are, better than everybody else? You don’t know everything, you big, ignorant, stupid . . . Put up your hands! Light rises, on the right side of the forestage, on a small table in the recep-tion room of Charley’s office. Traffic sounds are heard. Bernard, now mature,sits whistling to himself. A pair of tennis rackets and an overnight bag are onthe floor beside him.Willy (offstage): What are you walking away for? Don’t walk away! If you’re going to say something say it to my face! I know you laugh at me behind my back. You’ll laugh out of the other side of your goddam face after this game. Touchdown! Touchdown! Eighty thousand people! Touchdown! Right between the goal posts. Bernard is quite, earnest, but self-assured young man. Willy’s voice is com-ing from right upstage now. Bernard lowers his feet off the table and listens.Jenny, his father’s secretary, enters.Jenny (distressed): Say, Bernard, will you go out in the hall?Bernard: What is that noise? Who is it?Jenny: Mr. Loman. He just got off the elevator.Bernard (getting up): Who’s he arguing with? 557

Jenny: Nobody. There’s nobody with him. I can’t deal with him anymore, and your father gets all upset every time he comes. I’ve got a lot of typing to do, and your father’s waiting to sign it. Will you see him?Willy (entering): Touchdown! Touch—(He sees Jenny.) Jenny, Jenny, good to see you. How’re ya? Workin? Or still honest?Jenny: Fine. How’ve you been feeling?Willy: Not much anymore, Jenny. Ha, ha! (He is surprised to see the rackets.)Bernard: Hello, Uncle Willy.Willy (almost shocked): Bernard! Well, look who’s here! (He comes quickly, guilty to Bernard and warmly shakes his hand.)Bernard: How are you? Good to see you.Willy: What are you doing here?Bernard: Oh, just stopped by to see Pop. Get off my feet till my train leaves. I’m going to Washington in a few minutes.Willy: Is he in?Bernard: Yes, he’s in his office with the accountant. Sit down.Willy (sitting down): What’re you going to do in Washington?Bernard: Oh, just a case I’ve got the—, Willy.Willy: That so? (indicating the rackets.) You going to play tennis there?Bernard: I’m staying with a friend who’s got a court.Willy: Don’t say. His own tennis court. Must be fine people, I bet.Bernard: They are, very nice. Dad tells me Biff’s in town.Willy (with a big smile): Yeah, Biff’s in. Working on a very big deal, Bernard.Bernard: What’s Biff doing?Willy: Well he’s been doing very big things in the West. But he decided to es- tablish himself here. Very big. We’re having dinner. Did I hear your wife had a boy?Bernard: That’s right. Our second.Willy: Two boys! What do you know!Bernard: What kind of deal has Biff got?Willy: Well, Bill Oliver—very big sporting-goods man—he wants Biff very bad- ly. Called him in from the West. Long distance, carte blanche, special deliveries. Your friends have their own private tennis court?Bernard: What is it, Willy? 558

Willy (small and alone): What—what’s the secret?Bernard: What secret?Willy (confidentially, desperately): You were his friend, his boyhood friend. There’s something I don’t understand about it. His life ended after that Ebbets Fields game. From the age of seventeen nothing good ever happened to him.Bernard: He never trained himself for anything.Willy: But he did, he did. After high school he took so many correspondence courses. Radio mechanics; television; God knows what, and never made the slightest mark.Bernard (taking off his glasses): Willy, do you want to talk candidly?Willy (rising, faces Bernard): I regard you as a very brilliant man, Bernard. I value your advice.Bernard: Oh, the hell with the advice, Willy. I couldn’t advise you. There’s just one thing I’ve always wanted to ask you. When he was supposed to graduate, and the math teacher flunked him—Willy: Oh, that... ruined his life.Bernard: Yeah, but, Willy all he had to do was go to summer school and make up that subject.Willy: That’s right, that’s right.Bernard: Then why wouldn’t he go?Willy: Why? Why! Bernard, that question has been thrilling me like a ghost for the last fifteen years. He flunked the subject, and laid down and died like a hammer hit him!Bernard: Take it easy, kid.Willy: Let me talk to you—I got nobody to talk to. Bernard, Bernard, was it my fault? Y’see? It keeps going around in my mind, maybe I did something to him. I got nothing to give him.Bernard: Don’t take it so hard.Willy: Why did he lay down? What is the story there? You were his friend!Bernard: Willy, I remember, it was June, and our grades came out. And he’d flunked math.Willy: . . .Bernard: No, it wasn’t right then. Biff just got very angry, I remember, and he was ready to enroll in summer school. 559

Willy (surprised): He was?Bernard: He wasn’t beaten by it at all. But then, Willy, he disappeared from the block for almost a month. And I got the idea that he’d gone up to New England to see you. Did he have a talk with you then? Willy stares in silence.Bernard: Willy?Willy (with a strong edge of resentment in his voice): Yeah, he came to Boston. What about it?Bernard: Well, just that when he came back—I’ll never forget this, it always mystifies me. Because I’d thought so well of Biff, even though he’d al- ways taken advantage of me. I loved him, Willy, y’know? And he came back after the month and took his sneakers—remember those sneakers with “University of Virginia” printed on them? He was so proud of those, wore them every day. And he took them down in the cellar, and burned them up in the furnace. We had a fist fight. It lasted at least half an hour. Just the two of us, punching each other down the cellar, and crying right through it. I’ve often thought of how strange it was that I knew he’d given up his life. What happened in Boston, Willy? Willy looks at him as at an intruder.Bernard: I just bring it up because you asked me.Willy (angrily): Nothing. What do you mean, “What happened?” What’s that got to do with anything?Bernard: Well, don’t get sore.Willy: What are you trying to do, blame it on me? If a boy lays down is that my fault?Bernard: Now, Willy, don’t get—Willy: Well, don’t—don’t talk to me that way! What does that mean, “What happened?” Charley enters. He is in his vest, and he carries a bottle of bourbon.Charley: Hey, you’re going to miss that train. (He waves the bottle.)Bernard: Yeah, I’m going. (He takes the bottle.) Thanks Pop. (He picks up his rackets and bag.) Good-by, Willy, and don’t worry about it. You know, “If at first you don’t succeed . . .”Willy: Yes, I believe in that.Bernard: But sometimes, Willy, it’s better for a man just to walk away. 560